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Gain access to this incredible resource through either a monthly or a yearly subscription and search the entire collection from your desktop, compare multiple images side by side and zoom into the minute details of the images. Visit www.davidrumsey.com/amica for more information on the collection, click on the link below the revolving thumbnail to the right, or email us at amica@luna-img.com . Creator Name: Dalí, Salvador Creator Nationality: European; Iberian; Spanish Creator Role: Artist Creator Dates/Places: Spanish; 1904-1989 Creator Name-CRT: Salvador Dalí Title: Inventions of the Monsters Title Type: preferred View: Full View Creation Start Date: 1937 Creation End Date: 1937 Creation Date: 1937 Creation Place: Europe,Spain Object Type: Paintings Materials and Techniques: oil on canvas Dimensions: 20 1/4 x 30 3/4 in. (51.4 x 78.1 cm) Inscriptions: not signed on rectosigned and dated on verso: Salvador Dali 1937 AMICA Contributor: The Art Institute of Chicago Owner Location: Chicago, Illinois, USA ID Number: 1943.798 Credit Line: The Art Institute of Chicago, The Joseph Winterbotham Collection Copyright: ? Salvador Dali, Gala-Salvador Dali Foundation / Artists Rights Society (ARS), New York Rights: http://www.arsny.com Context: Label text approved by Charles Stuckey 8/91: "Salvador Dali, Spanish, 1904-1989; worked in France 1929-40, in the U.S. 1940-48, and maintained residences in the U.S., Spain, and France after 1948.'Inventions of the Monsters' 1937,Oil on canvas, Joseph Winterbotham Collection, 1943.798." Wall Text 7/3/91 - Copy in object file prob. written by Charlie Stuckey reads: "When Dali was informed in 1943 that The Art Institute of Chicago had acquired 'Inventions of the Monsters,' he sent the following telegram, 'Am pleased and honored by your acquisition.' According to Nostradamus the apparition of monsters presages the outbreak of war. This canvas was painted in the Semmerling mountains (sic? check files) near Vienna a few months before the Anschluss and has a prophetic character. Horse women equal maternal river monsters (se diagram A) Flaming giraffe equals masculine apocalyptic monster (see diagram B). Cat angel equals divine heterosexual monster (see diagram c [sic]). Hourglass equals metaphysical monster (see diagram D). Gala and Dali equal sentimental monster (see diagram E). The little blue dog alone is not a true monster (see diagram F). The diagram above locates the details mentioned in Dali's telegram. The following places and events also merit comment. Nostradamus (Michel de Nostredame, 1503-1566) was a physician in France who published a collection of prophecies in 1555, some seemingly fulfilled by the dire events of World War II. Dali began this painting in 1937 in his Paris studio on the rue de la Tombe-Issoire, and brought it with him to Semmerling, a small ski resort in Austria just south of Vienna, to work on while on vacation. The Anschluss was the annexation of Austria to National Socialist Germany in March of 1938, an event anticipated since 1917. By the time Dali sent this telegram in 1943, the Anschluss was considered a prelude to the world war. Gala (Elena Deluvina Diakonoff, around 1894-1982), Dali's wife since 1934, was his muse, (sic) collaborator, emotional anchor, and muse [for the most part of his life(sic)]. They met in 1929 when Dali moved to Paris and were married in 1934. From the time they met in 1929 to the time of her death, they were totally co-dependent and completely inseparable. The little blue dog that Dali refers to is barely visible in the lower left corner of the painting. Evidently Dali used a fugitive pigment, that is a chemically instable (sic) color for painting this detail which faded into memory within the artist's lifetime and within years of the work's completion.Ill.: Salidor(sic) Dali, 'Inventions of the Monsters,' 1937. The Joseph Winterbotham Collection. [copy not used this way in final ? text: Semmering is a small ski resort in Austria just south of Vienna. Dali brought this painting there in 1937 so that he could work on it while on vacation. He had begun the painting in his Paris studio on the rue de la Tombe-Issoire.]" AMICA ID: AIC_.1943.798 AMICA Library Year: 2000 Media Metadata Rights: Copyright The Art Institute of Chicago, 2000 AMICA PUBLIC RIGHTS: a) Access to the materials is granted for personal and non-commercial use. b) A full educational license for non-commercial use is available from Cartography Associates at www.davidrumsey.com/amica/institution_subscribe.html c) Licensed users may continue their examination of additional materials provided by Cartography Associates, and d) commercial rights are available from the rights holder. Home
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