Salvador Dalí, ‘Cyclopean Make-Up (Imaginations and Objects of the Future)’, 1975, Martin Lawrence Galleries

The Imaginations and Objects of the Future series was born of the concerted effort of a Chicago-based gallerist to convince Dalí to do a set of prints about the future. It was proposed on three separate occasions over a period of years before Dalí agreed to the undertaking. The arrangement included the creation of ten new paintings from which the prints would be produced. The paintings were loaned to Dalí’s Teatre-Museu Dalí in Figueres, Spain for a period of two years and then sold.

In 2004, the Dallas Museum of Art displayed the portfolio of Imaginations and Objects of the Future from their permanent collection to celebrate Dalí’s 100th birthday. They described this series as a particularly compelling example of how Dalí’s imaginative world evolved as he entered both a more religious and a more scientific phase of his life and art. After 1960, Dalí had become increasingly obsessed with mortality, nuclear warfare, technological advancement, and his own legacy. At the time of the portfolio’s release, art critic Alan Artner wrote of it in the Chicago Tribune magazine as evidence that Dalí was looking again to the Old Masters, and was looking particularly to Da Vinci’s sketchbooks. Artner speculated that Dalí sought to surpass even Da Vinci’s inventions with the prescient devices imagined in these works.

Signature: Signed by the Artist

Image rights: Martin Lawrence Galleries

Publisher: Salvador Dali; Desjobert, Atelier Rigal, Chicago Serigraphy Workshop.

About Salvador Dalí

Salvador Dalí was a leading proponent of Surrealism, the 20-century avant-garde movement that sought to release the creative potential of the unconscious through strange, dream-like imagery. “Surrealism is destructive, but it destroys only what it considers to be shackles limiting our vision,” he said. Dalí is specially credited with the innovation of “paranoia-criticism,” a philosophy of art making he defined as “irrational understanding based on the interpretive-critical association of delirious phenomena.” In addition to meticulously painting fantastic compositions, such as The Accommodations of Desire (1929) and the melting clocks in his famed The Persistence of Memory (1931), Dalí was a prolific writer and early filmmaker, and cultivated an eccentric public persona with his flamboyant mustache, pet ocelot, and outlandish behavior and quips. “Each morning when I awake, I experience again a supreme pleasure,” he once said. “That of being Salvador Dalí.”

Spanish, 1904-1989, Figueres, Spain