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Salvador Dali Woman with a head of roses, 1981

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50,000 - $ 100,000

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The artwork is available for pickup from the gallery in Paris, France


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Galerie Dali Paris

Paris, France

Artsper seller since 2019
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About the work
  • Medium

    Sculpture : bronze, plexiglass

  • Dimensions cm | inch

    16.5 x 10.5 x 2 inch

  • Display

    The sculpture cannot be displayed outdoors

  • Type

    Numbered and limited to 350 copies
    1 remaining copy

  • Authenticity

    Work sold with an invoice from the gallery
    and a certificate of authenticity

  • Signature

    Artwork signed in the mold

  • About the artwork

    Artwork sold in perfect condition

    Wrapped in ribbed fabric, the emaciated body of the woman leans heavily to one side while her disembodied hands and limbs wrap around her own figure. The plexiglass “Crutch of Light” is illuminated when turned on (electrical plug included).
    At the end of his career, Dalí wanted to revisit the theme of the woman with the head of roses. In 1981, he created a sculpture version of the 1935 painting, using the same title. In this sculpture, a recurring symbol in Dalí’s work is added: a crutch. It seems that the role of this crutch is more symbolic than technical as it is not not a essential part of the sculpture stability. The crutch is features in many Dalí’s works and acts as a symbol of reality and an anchor in the ground of the real world, providing spiritual and physical support for inadequacy in life. The crutch is also the symbol of tradition, upholding essential human values.
    The sculpture is referenced in "Dalí: The Hard and the Soft, Sculptures & Objects". Eccart, 2004. pg. 261 ref. 669
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Origin: France
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Salvador Dali

Spain Born in: 1904 Bestsellers Masterpieces

Salvador Dalí, in full Salvador Felipe Jacinto Dalí y Domenech, was born May 11, 1904, in Figueras, Spain, and died on January 23, 1989. This Spanissurrealist painter and printmaker was known for his explorations of subconscious imagery.


As an art student in Madrid and Barcelona, Dalí absorbed a number of artistic styles and displayed unusual technical dexterity as a painter. It was not until the late 1920s that two events brought about the development of his mature artistic style. First, his discovery of Sigmund Freud's writings on the erotic significance of subconscious imagery. Second, his affiliation with the Paris Surrealists, a group of artists and writers who sought to establish a “greater reality" of the human subconscious over reason. To evoke images from his subconscious mind, Dalí partook in self-induced hallucinatory states, a process he described as “paranoiac-critical". 


Upon Dalí establishing this method, his painting style matured at an extraordinary rate. Thanks to René Magritte and Joan Miró, from 1929 to 1937, Dalí had produced the artworks that had earned him the title of the world's best-known Surrealist artist. He depicted a dream world in which commonplace objects are juxtaposed, deformed, or otherwise metamorphosed in a bizarre and irrational manner.


The famous artist dabbled in other media as well. Alongside Spanish director Luis Buñuel, Dalí made two Surrealist films—Un Chien Andalou (1928; An Andalusian Dog) and L'Âge d'Or (1930; The Golden Age)—that are similarly filled with grotesque but highly suggestive images. Dalí also wrote books; perhaps the most interesting and revealing being The Secret Life of Salvador Dalí (1942-44).


By the late 1930s, Dalí switched to painting in a more academic style under the influence of the Renaissance painter Raphael. By doing so, he was consequently expelled from the Surrealist movement. Thereafter, he spent much of his time designing theatre sets, fashionable shop interiors, jewelry, as well as exhibiting his genius for flamboyant self-promotional stunts in the United States, where he lived from 1940 to 1955.


From 1950 to 1970, Dalí painted many works with religious themes, although he continued to explore erotic subjects, childhood memories, and themes surrounding his wife, Gala. Despite their technical accomplishments, Dalí's later paintings are not as highly regarded as his earlier works. 

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