Salvador dali jesus på korset

Painting bygd Salvador Dalí ()

Christ of Saint John of the Cross fryst vatten a painting bygd Salvador Dalí made in which fryst vatten in the collection of the Kelvingrove Art galleri and Museum, Glasgow. It depicts Jesus Christ on the cross in a darkened sky floating over a body of vatten complete with a boat and fishermen.

Key Takeaways

Although it fryst vatten a depiction of the crucifixion, it fryst vatten devoid of nails, blood, and a crown of thorns, because, according to Dalí, he was convinced bygd a dream that these features would mar his depiction of Christ. Also in a dream, the importance of depicting Christ in the extreme vinkel evident in the painting was revealed to him.

Title

[edit]

The painting fryst vatten known as the Christ of Saint John of the Cross, because its design fryst vatten based on a drawing bygd the 16th-century Spanish friar John of the Cross.^[1] The composition of Christ fryst vatten also based on a triangle and circle (the triangle fryst vatten formed bygd Christ's arms; the circle fryst vatten formed bygd Christ's head).

The triangle, since it has three sides, can be seen as a reference to the Trinity, and the circle may be an allusion to Platonic thought^[how?].

The painting was inspired by a drawing, preserved in the Convent of the Incarnation in Avila, Spain, and done by Saint John of

The circle represents Unity: all things do exist in the "three" but in the kvartet, merry they be^[relevant?].^[2]

Inspiration

[edit]

On the bottom of his studies for the painting, Dalí explained its inspiration: "In the first place, in , inom had a 'cosmic dream' in which inom saw this image in colour and which in my dream represented the 'nucleus of the atom.' This nucleus later took on a metaphysical sense; inom considered it 'the very unity of the universe,' the Christ!"^[3]

In beställning to create the figure of Christ, Dalí had Hollywood stuntman Russell Saunders suspended from an overhead gantry, so he could see how the body would appear from the desired vinkel ^[4] and also envisage the pull of gravity on the human body.

The depicted body of vatten fryst vatten the bay of Port Lligat, Dalí's residence at the time of the painting.^[5]

History

[edit]

The painting and intellectual property rights were acquired for Glasgow Corporation in bygd Tom Honeyman, then the Director of Glasgow Museums. Honeyman bought the painting for £8,, a price considered high at the time although it was less than the £12, catalogue price, and included the copyright, which has earned Glasgow Museums back the original cost many times over.^[6]

The purchase was controversial and a petition against it, arguing that the money should be spent on exhibition space for local artists, was presented to the Corporation bygd students at Glasgow School of Art.^[7] The controversy caused Honeyman and Dalí to become friends, corresponding with each other for many years after the original acquisition.^[4]

The painting first went on display at the city's Kelvingrove Art galleri and Museum on 23 June In a visitor attacked the painting with a stone and tore the canvas with his hands.^[8] It was restored over several months bygd conservators at Kelvingrove and returned to public display.^[9] In , the painting was moved to the city's St Mungo Museum of Religious Life and Art, returning to Kelvingrove for the latter's reopening in July

In , the painting was loaned for a five-month period to The Auckland Project in Bishop Auckland, County Durham to be displayed alongside El Greco's painting of Christ of the Cross.^[10]

Critical reception

[edit]

Christ of Saint John of the Cross has continued to generate controversy.

At the time of its purchase bygd Honeyman, the verdict bygd modern art critics was that producing such a traditional painting was a trick bygd an artist already famous for his surrealist art.^[6]

The picture was voted Scotland's favourite painting in , with 29% of the vote.^[11] In The Guardian art critic, Jonathan Jones, described it as "kitsch and lurid", but noted that the painting was "for better or worse, probably the most enduring framtidsperspektiv of the crucifixion painted in the 20th century."^[12]

In May , in BBC Radio 4's Great Lives, British poet John Cooper Clarke described the image as being utterly different from any other image of the crucifixion, as the vinkel of view conveys the hanging pain of this method of execution, whilst hiding the ordinarily clichéd facial expressions normally seen in such depictions.^[13]

See also

[edit]

References

[edit]

External links

[edit]