bronze, 57 x 9 x 26 cm, 57 × 9 × 26 cm, signed lateral, at the base, "Dali"; numbered and mention of the foundry, at the base, "Fusa dalla Venturi Arte Bologna-Italia, 423/1500"

Research information

Limited edition from a number of 1,500 pieces, merged by Venturi Arte (Bologna). First conceived and cast in the year 1973, in bronze, in the "lost wax" method. The first mentions of the work in the literature are found in the year 1987 (PASSONI, Franco; MORSE, Reynolds; FIELD, ALBERT, "Dali nella terza dimensione", Ed. Master Fine Art Gallery, Milan, 1987). The work is exhibited for the first time in the year 1989, in the Exhibitions: "Dali Scultore Dali Illustratore", Palazzo Reale (Napoli); "Dali", Galleria Civica d'Arte Moderna, (Ferrara); "Dali Scultore Dali Illustratore", Accademia Spagnola di Belle Arti, (Rome).

Belonging to the surrealist movement of the 20th century, Salvador Dalí’s works of art constitute genuine manifestations of the unconscious, which result from the contraction of material hardness and of the unreality conveyed through it. One of the recurring presences in Dalian creation will be the hybrid creature, which allows for the revelation of interpretative force in a symbolic framework. Against this background of the oneiric and of interpretation, the motif of the human body with drawers occurs, which has been present in the Dalian work starting from the year 1936, in works such as: "Jirafa en llamas" (approx. 1936-1937), "Venus de Milo con cajones" (1936) or "Venus à la Girafe" (1973), et. al. Echoed on a number of occasions, the motive of antique beauty, represented by Venus, bears the mark of the surrealist tenet according to which the idealism, the balance, and the harmony of the human body reflect a disjoined concept in contemporaneity. Thus, the beautiful form conceals surprise, loss of focus, disturbance, which states are visualized in the image of the drawers, intended to facilitate access inside the human being. (GM

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