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拍品专文
Executed in 1945, this 'marine allegory' relates closely to Dalí's 1941 painting Le Triomphe de Nautilus - a work paraphrasing the whimiscal follies and allegories that populated the elaborate interiors of Italian Renaissance palaces.
Set against the same vast empty Ampurdan plains and Catalan coastline of his homeland that had characterised his Surreal landscapes of the 1930s, Dalí weaves this allegory against a demonstrable void. The artificiality of all that is represented is deliberately augmented in this work by his allowing his brushwork to remain plainly visible and by the fake trompe l'oeil distressing of the work that Dalí has added in order to make it resemble all the more a mysterious and perhaps lost masterpiece from the Renaissance.
The painting was first owned by the Marquis de Cuevas, a member of the Zodiac group of benefactors that was formed to support Dalí with the purchase of one of his paintings every month of the year.
Set against the same vast empty Ampurdan plains and Catalan coastline of his homeland that had characterised his Surreal landscapes of the 1930s, Dalí weaves this allegory against a demonstrable void. The artificiality of all that is represented is deliberately augmented in this work by his allowing his brushwork to remain plainly visible and by the fake trompe l'oeil distressing of the work that Dalí has added in order to make it resemble all the more a mysterious and perhaps lost masterpiece from the Renaissance.
The painting was first owned by the Marquis de Cuevas, a member of the Zodiac group of benefactors that was formed to support Dalí with the purchase of one of his paintings every month of the year.