Before you canvas surrealist Salvador Dali. It’s a strange job with an interesting story. She is somewhat biographical and, as critics suggest, personifies the author’s protest and vengeance to her own sister Anna Maria in response to the book she wrote in 1949. And so, the prehistory of the canvas leaves in the distant youth of Dali, when his sister was the artist’s only muse. Anna Maria was a model for a talented brother, leaving a mark on his creations. In the most unpredictable foreshortenings, poses and themes, the girl was present in the pictures of her elder brother and mentor after the death of their mother.
One of them was the “Figure at the Window” in 1925. The artist was barely 21 years old, but the mysterious surrealism and recognizability of his technique was already present in the plot narrative. A light, weightless palette, the open window, the serene curiosity of the heroine and the landscape of the Spanish Cadaques mixed up in the composition.
The unique tandem of the master and his model existed right up to the moment of Dali’s revelation in the signature of one of his works to the mother’s address. “Sometimes I spit on the portrait of my own mother, and it gives me pleasure,” – wrote the author, which caused anger and resentment of Anna Maria, forever breaking the invisible thread of communication and love with her younger sister. The marriage to Gala finally built up a wall of misunderstanding between the artist and his former muse. Jealousy covered the eyes of Mary Daly, which is reflected in the autobiographical work of 1949 “Salvador Dali through the eyes of her sister.”
The essay on the attitude towards some painters, which was once written by El Salvador, was included by her sister in her memoirs. In the same place she ridiculed the surrealism of Dali, his “mask”, which grows to him, the talent and quality of the work. The reproach to the talent of his brother caused a seed of resentment, which subsequently became the cause of revenge. The act of retribution resulted in the creation of a vulgar painting, in which, presumably, Anna Maria is depicted.
The canvas “Sodom’s self-satisfaction of an innocent virgin” is summarized by experts with the author’s early work devoted to his sister. Here are some elements that are lost in the total mass of details, but, nevertheless, they give out a certain similarity of the “Figures at the Window” of 1925 and the “Virgin” of 1954. It is the hair and landscape of the port outside the window, the atmosphere of a piece of interior torn from the context of life, a quiet range. The debauchery that did in Dali’s work is veiled. Do not know how vulgar the author was and courageous in sexual fantasies, you can interpret the work as a hint of love for gypsum and architecture. White horns resemble fragments of a certain structure of gypsum or ceramics.
Tear-apart body – bold decision of El Salvador to hurt the young heroine. The metal rails, the separation of the hips, the incommensurability of foreign bodies penetrating the fragile creature – all screams about the woman’s inclination to debauched games and irrepressible lust. These squashed white stockings and patches on their heels, worn out espadrilles and tousled hair talk about the recent game of love alone with a lonely, poor, untidy woman. And now freedom from preludes, invented love, self-gratification, and the virgin body, the elastic breasts and thin hands are given to languor and emptiness. And tomorrow again, the crumpled sheets… And if this is an image of a sister, then he hurts his vulgarity.
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