surrealism: Sunday Dalí: The Madonna of Port lligat, 1950. Oil on canvas, 144⅛ x 96 inches. Fukuoka Art Museum, Fukuoka, Japan. This is the second, and final, version of Dalí’s Madonnas. Unlike the first version this one is a massive canvas and is considered to be among Dalí’s best works. At its unveiling Dalí explained to reporters that this version was “completely changed” noting that the focus has been moved from the face of the Madonna to the Christ child. Dalí explained: [M]odern physics has revealed to us increasingly the dematerialization which exists in all nature and that is the reason why the material body of my Madonna does not exist and why in place of a torso you find a tabernacle ‘filled with Heaven’. But while everything floating in space denotes spirituality it also represents our concept of the atomic system — today’s counterpart of divine gravitation.1 Anonymous, “Toward Raphael,” Time, 17 April 1950, pp. 65, quoted in Michael R. Taylor, Dalí, (Venice: Rizzoli, 2004), 350. ↩

surrealism:

Sunday Dalí: The Madonna of Port lligat, 1950. Oil on canvas, 144⅛ x 96 inches. Fukuoka Art Museum, Fukuoka, Japan.

This is the second, and final, version of Dalí’s Madonnas. Unlike the first version this one is a massive canvas and is considered to be among Dalí’s best works. At its unveiling Dalí explained to reporters that this version was “completely changed” noting that the focus has been moved from the face of the Madonna to the Christ child. Dalí explained:

[M]odern physics has revealed to us increasingly the dematerialization which exists in all nature and that is the reason why the material body of my Madonna does not exist and why in place of a torso you find a tabernacle ‘filled with Heaven’. But while everything floating in space denotes spirituality it also represents our concept of the atomic system — today’s counterpart of divine gravitation.1

  1. Anonymous, “Toward Raphael,” Time, 17 April 1950, pp. 65, quoted in Michael R. Taylor, Dalí, (Venice: Rizzoli, 2004), 350. ↩

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