Dizziness, Salvador Dali, 1930

Dizziness, Salvador Dali, 1930
Dizziness, Salvador Dali, 1930 - 1

  • Posted by Salvador Dali
  • Museum: Private collection
  • Year: 1930

Overview of the painting :

Dizziness – Salvador Dali. 1930. Oil on canvas. 35×27

   Picant scene on the roof of a high tower. The timid morning sun, shamefully illuminating a pair in love, draws elongated shadows. The head of the lion, as a symbol of all-consuming passion, as if guarding people who have forgotten everything in the world from outsiders. The blue ball – the color of bright feelings, sincerity and trust – distracts the viewer from lovers, emphasizes the chastity of what is happening. The biggest shadow is cast by someone invisible to the audience, but significantly affecting the atmosphere of the picture. The artist thus means the presence in the work of a society condemning, hypocritical, implacable, burdened with numerous prohibitions.

   A man bashfully covers his face, trying to shut himself from the direct and uncompromising eyes of the crowd. A woman does not pay any attention to the hindrance. The tower itself in the picture can be a symbol of those social decency, foundations, laws that humanity has erected for itself throughout its existence. What happens goes beyond these foundations. The tower is strong, folded from strong, perfectly fitted blocks. True, cracks appear in some places. They are few, very few. The tower will last more than one millennium, but time has already begun its quiet but inevitable work.

   The lifeless landscape at the foot of the tower is quiet and impersonal. Outside the tower there is no life.

   The author offers his understanding of the scope of morality and the degree of public intervention in these complex and confusing problems.

   Highlighting the ball from the total color scheme of the picture, the master calls for the perception of external manifestations through an assessment of the internal essence of certain phenomena. Proceed from the positive in assessing the actions of other people.

   In the shadow cast by “invisible”, you can also see signs of some kind of embarrassment. The compositionally built picture so that the viewer is outside the plot, he is an outside observer. In this position, the public feels freer, having the opportunity to evaluate the plot “from the outside.”.