Salvador Dali: a genius theater of the absurd. Part 2
The way Salvador Dali was brought up at an early stage is a clear example of an illiterate parental approach to a child, when the father and especially the mother, with their own hands, strengthened the foundation of the visual fears of the future artist. He never parted with his fears all his life, rocking them and expressing them with dark surreal motives.
Part 1
The way Salvador Dali was brought up at an early stage is a clear pedagogical delusion and an example of an illiterate parental approach to a child, when the father and especially the mother, with their own hands, strengthened the foundation of the visual fears of the future artist. He never parted with his fears all his life, rocking them and expressing them with dark surreal motives.
Dali is credited with many complexes and phobias, including the fear of grasshoppers. His visual vector, traumatized in early childhood, may well have responded this way, causing an emotional child to experience outbursts of horror at the sight of insects. In spectators, any phobia is based on a deep root fear of death, the fear of being eaten. The classmates of the future celebrity did not fail to take advantage of this weakness of his and stuffed insects into his pockets, by the collar, or planted directly on his nose.
The visual vector is clearly present in the vector set of the artist, which is often expressed by sentimental tearfulness. In his youth, Dali, subject to inner experiences, loved to cry somewhere in a secluded corner of the garden.
It seems that he had absolutely no interest in “our smaller brothers”, and the artist, through the sound perception of the world, was more inclined to depict their decomposing corpses on his canvases than living integrity, and to experiment with swans, tying explosives to them. Such revelations can be found in the text of The Diary of a Genius. It was not without anal sadism, combined with curiosity about what was inside.
Little Dali was not devoid of anal grievances. The parental preference for an older brother naturally traumatized El Salvador. Then, not wanting to be pushed into secondary roles and due to his anal stubbornness, he resorted to various tricks, seeking all kinds of courtesy on the part of adults.
Biographers note Dali's tantrums that happened to him since childhood. When he didn't like something, he provoked violent fits of coughing in himself, during which his father fell into despair, afraid of losing another son. On the one hand, such an act can be interpreted as a urethral desire to declare oneself, to remind the “oversized parents” who is “the leader in the house”. On the other hand, with all his love for silence and solitude, as a property of the sound vector, the Salvador-spectator demanded constant attention to himself, seeking it in any demonstrative form and price: from strained coughing to banging his head on solid objects.
Dali started painting at the age of 3. By the age of 10, he was already an established artist. The boy was sent to art school. He ran around the classroom and banged his head with a running start on a marble column. When asked what happened and why he did it, Salvador, standing with a bloody forehead, replied: "Because no one paid attention to me."
El Salvador sought his own from his parents in all ways. At the age of 8, he, without suffering from enuresis, wetted the bed if they refused him something.
Researchers of the life and work of Dali mention that he deliberately could relieve a small need somewhere in the room. This act of the boy, as an attempt at approval and a sign to the formidable anal father, is absolutely justified by his urethral nature. The little leader marked his territory. Everyone should know who is in charge here and treat him like a king or lord.
By such actions at the animal level, the Dali-child unconsciously made them understand that they were just guardians-regents under the little prince. Parents tried to indulge him in everything, and only little Salvador ruled in the house. Especially relations with his father worsened after the death of his mother, and later there was a complete break between Dali Sr. and Dali Jr.
Dali has always loved to stun. Unpredictability is his trump card up his sleeve. So, not at all embarrassed, the king of surrealism could appear naked in front of his amazed guest, the Soviet composer Aram Ilyich Khachaturian, who was invited to the artist in the Moorish castle during his Spanish tour. Under the "Saber Dance" booming from the speakers, swinging a saber himself, riding a mop, sparkling with crazy eyes and reflecting in ancient mirrors, Dali jumped out of one door of the hall and disappeared into another. After that, the butler, who entered, informed the Soviet guest about the end of the official audience.
Art critics cannot refrain from mentioning that from early childhood Dali was obsessed with megalomania, referring to the maestro's love to dress up in the outfit of the king and hold speeches to imaginary subjects. They do not know that the urethral, which Dali was, could not exist without his tribe, people, flock, even if at first they existed in his imagination. In general, dressing up and wearing the most ridiculous and outrageous outfits were nothing more than a manifestation of visual fears.
The great provocateur Salvador Dali in the circle of people very close to him remained an ordinary person, but as soon as an outsider appeared, he put on a "Dali mask" and provoked, shocked, shocked, why not? After all, "life is a carefully planned deception."
Having determined his superiority, Dali precisely played his natural role as the first person of the pack, leader, king, king. And the whole flock, represented by his admirers and enemies, obeyed him. Any theater-goer knows: the king is played by his entourage. And the maestro's entourage, not suspecting how cleverly he was manipulated, played the king, but the artist had no choice but to play along.
As a child, having received as at a mantle lined with an ermine, a toy crown, a scepter and an orb, Dali felt so comfortable in the royal image that he did not want to part with them, even as an adult.
He loved to dress in the urethral way in royal clothes. Everyone believed that Dali dictated fashion and his own non-standard approach to it. The maestro, having subconsciously determined his rank in the flock in childhood, wore a mantle, crown or cocked hat as a leader. True, instead of a scepter, Dali had a magnificent cane made of the horn of a rhinoceros, a favorite animal from his paintings, with a head in the form of a cherub. He did not part with the cane all his life and once nearly killed a hairdresser when he almost broke it, carelessly lowering the chair.
Nobody has the right to encroach on the attributes of the leader. This is tantamount to infringement of his rank. Such things as awards, jewelry, all kinds of accessories that emphasize his rank, no one is allowed to touch, except for especially trusted persons.
Whatever he did - painting, sculpture, jewelry design or advertising - he carried his vision of the world, passed through the spectrum of his own vectors. Gala, who knew everything perfectly and even helped her husband to create an image of a paranoid, controlled the entire internal polysyllabic machine named the Genius of Surrealism. Guessing in a young artist from Figueres who would be subject to her, she would fulfill all her requirements, it was she, his wife and muse, like the great sculptor who sculpted the future world celebrity Salvador Dali, becoming the brain and financial manager of his surrealist empire.
It remains to be seen who of this pair was Pygmalion and who was Galatea. After all, it was Gala that turned the unknown poor artist Dali into a millionaire Dali. This amazing affiliate game has been running for over 50 years.
His second inspiration was Cadaques, a small town on the Costa Brava where little El Salvador spent the summer with his parents. A unique natural landscape with crevices and hollows created by the wind and the sea, changing their shape and color with the movement of the sun. Playing with shadows on the rocks, the sun created glare, which in the boy's visual imagination became a variety of bizarre creatures and plots, predetermining the tones and shades of colors in the paintings of the future great surrealist.
Later, these metamorphoses, in the form of visual fears and sound phantasmagorias, imprinted in the child's subconscious, flavored with Freudian psychoanalysis and seasoned with the Nietzschean idea of exclusivity, were transferred to canvases, exaggerated and supplemented, dividing the whole world into Dalian admirers, envious and outspoken opponents.
When the boy was 8 years old, the family moved to another apartment, where the aspiring artist had his "kingdom" in the premises of an abandoned laundry room on the top floor of the house, in which he created his first workshop.
It remains only to be surprised at the extraordinary performance of little Dali. He sonically found "his dark closet" in the attic laundry, where no one bothered him. There he fled from the hustle and bustle of the noisy southern city with the usual philistine life below. The attic became his sonic diocese. Dali in the urethral, literal and figurative sense, always rushed upward with desperate passion, preferring to soar with his greatness and sur genius "over" everyone.
Other parts:
Salvador Dali: a genius theater of the absurd. Part 1
Salvador Dali: a genius theater of the absurd. Part 3
Salvador Dali: a genius theater of the absurd. Part 4
