Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.691187
Title: Dalí's religious models : the iconography of martyrdom and its contemplation
Author: Escribano, Miguel
ISNI:       0000 0004 5916 953X
Awarding Body: University of Essex
Current Institution: University of Essex
Date of Award: 2016
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Abstract:
This thesis investigates Dalí’s adoption of religious iconography to help represent themes that he had conceptualised through Surrealism, psychoanalysis and other thought systems. His selective use of sources was closely bound to his life circumstances, and I integrate biographical details in my analysis of his paintings. I identify unexpected sources of Dalí's images, and demonstrate how alert he was to the psychological motivations of traditional art. I find he made especial use of the iconography of martyrdom – and the perceptual and cognitive mechanics of the contemplation of death – that foreground the problem of the sexual and mortal self. Part I examines the period 1925-7, when Dalí developed an aesthetic outlook in dialogue with Lorca, formulated in his text, 'Sant Sebastià'. Representations of Sebastian and other martyr saints provided patterns for Dalí's exposition of the generative and degenerating self. In three chapters, based on three paintings, I plot the shift in Dalí's focus from the surface of the physical body – wilfully resistant to emotional engagement, and with classical statuary as a model – to its problematic interior, vulnerable to forces of desire and corruption. This section shows how Dalí's engagement with religious art paradoxically brought him into alignment with Surrealism. In Part II, I contend that many of the familiar images of Dalí’s Surrealist period – in which he considered the self as a fundamentally psychic rather than physical entity – can be traced to the iconography of contemplative saints, particularly Jerome. Through the prism of this re-interpretation, I consider Jerome's task of transcribing Biblical meaning in the context of psychoanalytical theories of cultural production. In Part III, I show how Dalí's later, overt use of religious imagery evolved from within his Surrealism. I trace a condensed, personalised life-narrative through Dalí’s paintings of 1948-52, based on Biblical mythology, but compatible with psychoanalytical theory: from birth to death to an ideal return to the mother's body.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.691187  DOI: Not available
Keywords: BH Aesthetics ; BL Religion ; BR Christianity ; BS The Bible ; N Visual arts (General) ; NB Sculpture ; ND Painting
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