In 1938, Salvador Dali created Téléphone-homard (Lobster Telephone) by uniting a working Bakelite telephone with a plastic lobster.
The idea for this work began when Salvador Dalí discovered an inkwell illustrated with the praying couple (from Jean-Francois Millet’s painting The Angelus, 1857–59). He embedded the inkwell in a loaf of bread and placed them both on the portrait bust of a woman.
In 1931, Dalí described Surrealist sculpture as “created wholly for the purpose of materializing in a fetishistic way, with maximum tangible reality, ideas and fantasies of a delirious character.” Retrospective Bust of a Woman (1933) not only presents a woman as an object, but explicitly as one to be consumed. A baguette crowns her head, cobs of corn dangle around her neck, and ants swarm along her forehead as if gathering crumbs. Ants, of course, are a common reoccurring motif in Dali’s work.
Photographed in the Museum of Modern Art in NYC.
This illuminated diorama-like construction contains eleven, parallel painted-glass panels. Both pictorial illusion and actual depth produce a sense of receding space, from the proscenium arch of the front panel to the sky on the furthest, with various bizarre objects, figures and scenarios sandwiched in- between.
This unusual work may have been Dali’s attempt to recreate “a large, square box” he had seen as a boy: “It was a kind of optical theater, which provided me with the greatest measure of illusion of my childhood. I have never been able to determine or reconstruct in my mind exactly what art was like.
Salvador Dali’s The Little Theater (1934) Was Photographed in the Museum of Modern Art in NYC.
The first of dozens of boxes Joseph Cornell made in honor of famous ballerinas, Taglioni’s Jewel Casket (year) pays homage to Marie Taglioni, an acclaimed 19th-century Italian dancer. According to legend, Taglioni kept an imitation ice cube in her jewelry box to commemorate dancing in the snow at the behest of a Russian highwayman (a traveling thief). The box is infused with erotic undertones — both in the tactile nature of the materials (glass cubes, velvet, and a rhinestone necklace purchased at a Woolworth’s dime store in New York) and in the incident itself, in which Taglioni reportedly performed on an animal skin placed across the snowy road.
Although he spent his entire artistic career living and working in Queens, New York, Cornell drew inspiration from the European art he saw at the Julien Levy Gallery — the first in the United States to exhibit Surrealist work — and he often inspired the European Surrealists in turn. In a press release for a 1939 exhibition of Cornell’s work at the Levy Gallery, Salvador Dalí heralded it as “the only truly Surrealist work to be found in America.”
Photographed in the Museum of Modern Art in New York City.
The iconic Bocca Sofa (also unofficially known an the Lips Sofa) was created by the radical Italian design team Studio 65 for the famed Italian manufacturers Gufram back in 1972. Based on an original design by none other than Surrealist Salvador Dali, who took Mae West as his inspiration, Studio 65 looked to that other iconic beauty, Marilyn Monroe, to create this famous sofa. Both Studio 65 and Gufram are known for being places where the art world and design world collided, and their kaleidoscopic fusion of pop art, conceptual art and modernist design reached their zenith with this piece.