Dali's mustache

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Dali's Mustache
(front of the book cover)
Philippe Halsman , 1954
photograph

Link to the picture
(please note copyrights )

Dali's Mustache ( American English , pronounced: dɑːlɪs' mʌstæʃ , Dali's mustache ) is an absurdly humorous book by the surrealist artist Salvador Dalí (1904–1989) and his friend, the photographer Philippe Halsman (1906–1979)PublishedOctober 1954 in New York . Translated and slightly modified French editions followed in the 1980s and 1990s.

The book, in whose prologue Dalí outlines the history and meaning of his mustache in a few sentences, has the subtitle A Photographic Interview . A short question is asked of the artist on each page. Dalí answers on the following page, where Halsman this reply through his photographic implementation - absurd, ironic or self-deprecating black and white portraits of Dalí with different uses its iconic upper lip Barts - an additional meaning adds.

History of origin

Halsman lived and worked in the United States from 1940 - and until his death. In New York in 1941 he met Dalí for the first time, who, after previous visits to the USA, stayed there with his wife Gala from 1940 to 1948, during which time he was not only painting but also literary. From the 1940s onwards, these two artists enjoyed a lifelong friendship.

The idea for the book came from Richard "Dick" Simon , one of the founders of Simon & Schuster , when Halsman showed him photographs of Dalí that were intended for Life Magazine . Simon had already suggested to Halsman five years earlier that he should write The Frenchman: A Photographic Interview with Fernandel about the French actor Fernandel , which had achieved very good sales figures.

Halsman suggested the project to Dalí, pointing out that there were many books about artists, but that it had never been there before - and thus represents a very special homage - to dedicate an entire book to “a detail by the artist”. Dalí liked this idea and over months a collaboration developed in which both artists contributed ideas and realized them together.

The first edition of Dali's Mustache was published in October 1954 by Simon & Schuster, New York, under an English title and in English. It was Halsman who had translated the peculiar French of the Catalan Dalí in the introduction. The back of the book is marked Warning! This book is preposterous .

In the following editions, which appeared in France in the 1980s and 1990s , the English title was retained, the questions and answers were translated into French , the Dalí / Mona Lisa photograph with coins was replaced by the original with the 10,000 dollars -Bills replaced and the warning on the back read Attention! Livre absurd . In addition, a Note de l'éditeur was added at the end of the book, giving technical details on selected photographs (D'intérêt seulement pour les photographes) .

content

Dedications

Both artists dedicated the book to their respective wives (Dalí and Gala (Jelena Dmitrijewna Djakonowa) had been married since 1934, Halsman and Yvonne Moser since 1936).

«À Gala qui est also l'ange gardien de ma mustache. »

"For Gala, who is also the guardian angel of my mustache."

- Dalí

«À Yvonne pour qui je me rase tous les jours. »

"For Yvonne, for whom I shave every day."

- Philippe Halsman

Preface (Salvador Dalí)

In the first part of the foreword (Preface) , Dalí briefly explains in first person his development story from child to adult up to his “first American campaign”. The foreword contains a black and white photograph in which Dalí holds a copy of Time magazine from December 14, 1936 in front of him, claiming that he appeared with the “smallest mustache in the world”, but that soon, as did the power his idea that it has not stopped growing.

In the second part - the mustache became an important part of the artist - Dalí changes the personal narrative situation and now writes about Dalí in the third person. He mentions Dali la , who also knew the power of hair, and makes reference to " Laporte ", the "inventor" of Magie Naturelle ("Magia naturalis"), for whom human beards represent sensitive antennae with which one can receive creative inspiration . Via Plato and Leonardo da Vinci and their "most glorious facial hairs", Dalí leads into the 20th century, in which finally "the most sensational hair phenomenon" - Dalí's mustache! - to which this book is dedicated.

A photographic interview

Dali's Mustache - Photograph No. 28:
Question: “I have the feeling that I have discovered your secret, Salvador. Could it be that you are crazy? " Answer: " I am definitely more sensible than the person who bought this book. "
Salvador Dalí and Philippe Halsman
photograph

Link to the picture
(please note copyrights )

Dali's Mustache contains 28 black and white photographs , mostly portraits of Dalí with various uses of his iconic mustache .

Before the photographs - and without them being visible - Dalí receives a brief question about himself or his activities, which is answered on the following page under the photograph. These answers are mostly short, sometimes ambiguously cryptic; some make perfect sense, others are completely absurd, and in one case Dalí doesn't answer at all. The result of Halsman's photographic implementation adds an extra meaning to each answer.

Four of the photographs are allusions to Dalí's delight in financial success - two of them openly with American coins or dollar bills . Around 1942 André Breton had created the vicious anagram “Avida Dollars” (German: “hungry for dollars”) from Dalí's first and last name . Dalí made no secret of his "hunger for money", but showed self-deprecating humor by smilingly brought his mustache into the S-shape of the dollar sign for a photograph .

Another photograph shows the Mona Lisa with Dalí's face, beard and each holding a real 10,000 dollar bill in his strong hands. On the one hand, this is a new interpretation / alienation of the well-known ready-made L.HOOQ by the French-American painter and object artist Marcel Duchamp from the time of Dadaism , which shows the world-famous painting of the Mona Lisa with mustache and goatee. On the other hand, Dali - unmistakably through his trademark, the mustache, as well as other attributes - takes the place of the "art icon La Gioconda " personally and as a new icon .

Afterword (Philippe Halsman)

In addition to the genesis of the book, Halsman anecdotally addresses the difficulties that arose with some of the recordings in the afterword (Postface) :

  • Photograph # 15: Inspired by Dalí's painting The Persistence of Memory , this photograph shows Dalí's face on the downward pocket watch. It was the most technically demanding photograph of the series and required more than a hundred hours of work. The picture was later mistaken for a photograph of a painting - which it is not .
  • Photograph No. 18: A fly and honey on Dalí's mustache was an insurmountable problem in the timeframe: Where do you find a fly in the cold New York winter?
  • Photograph No. 21 Dalí, looking with one eye through a hole in the cheese, the tips of his beard protruding through two more holes in the cheese slice. The slice of Gruyère cheese was greasy, with holes that were too small, assistants had to hold Dalí's beard tips and the artist lost some whiskers during the process.

Halsman also mentions that more photographs were taken than were used in the book. Even his children - according to him - were recorded by the "Mustachomania" and made their own suggestions.

Finally, Halsman (in the French edition) recounts his conversation with a young actress who asks him questions about Dalí, surrealism and the meaning of the mustache in the English edition at hand. Halsman explained to her that Dalí's mustache was a symbol and spread the “ message ” that everyone should believe in their own way of being different, unique and irreplaceable - whereupon the young woman exclaimed: “A mustache with a message! How can you be so absurd? ”Halsman replied:“ Do you really believe that, or are you just trying to flatter me? ”

Editor's Notes

The editor's notes in the French edition refer in detail to the technical realization of some selected photographs ("Comment furent faites certaines des photographies. D'interêt seulement pour les photographes").

reception

Halsman's photographs and Dali's mustache have been commented on in many journals and books. In the catalog of the Staatsgalerie Stuttgart it is stated: "It contains some of Dalí's best photographs, pictures that were taken according to his own instructions."

Photographically oriented magazines judge it as “a great classic” and “a wonderfully sophisticated photo album ... and collector's item”. A copy of the original edition, which includes drawings and a dedication by Dalí to Robert Schwartz, a U.S. immigration officer who handled VIPs , sold for $ 6,875 in 2012 .

The writer Michael Elsohn Ross calls it "a wild, crazy little book" and wants to encourage students and young people to use their own hair artistically (hair art) .

The ethologist , publicist and Surrealism inclined towards artist Desmond Morris goes in his book The Naked Man: A Study of the Male Body (2008) to Dali's mustache and thought that the book Dali's Mustache is the only book that depending solely on the Facial hair of a single person has been published.

The Salvador Dalí Museum in Saint Petersburg , Florida , had an exhibition of Halsman's photographs from Dali's mustache in 1991/1992 .

Background information

From the "smallest mustache in the world" to the "trademark"

Salvador Dalí (1934) with the "smallest mustache in the world"

In the mid-1920s, Salvador Dalí was beardless. In the late 1920s or early 1930s he had a Menjou mustache, which was very popular at the time - he himself described it as the “smallest mustache in the world” - which was also documented in a photograph in 1933, a year before his marriage to Gala . Dalí kept this type of mustache until the late 1930s.

Salvador Dalí with his tame ocelot Babou (1965)

The work of several photographers - Philippe Halsman (1942), Irving Penn (1947), Alfredo Valente (ca.1950) and again Halsman (1954) - shows that Dalí in the United States began to grow his beard longer and longer, until it finally in the 1950s - Dali's Mustache appeared in 1954 - like feelers or antennas, and it had reached a total length of 25 centimeters from beard tip to beard tip.

The hairstylist and artist Lluís Llongueras Batlle, a long-time friend of Dalí, who worked with the surrealist in 1976 on his work The Face of Mae West and created the 4.40 meter by 3.46 meter wig , reports in his anecdotes book Todo Dalí (2003) that he not only made toupees and hairpieces, but also false mustaches for Dalí.

Eccentric, extroverted appearances were typical for Dalí and his distinctive mustache became his “ gimmick ”, his “particularity” and his unofficial trademark with a high recognition value . In the 1950s his mustache became an iconic part and "Dalí's transformation into his public appearance [his image] was nearly complete".

As part of Movember's fundraising campaign , MSN HIM conducted a 2010 survey for the “ best-known mustache of all time” . Of 14,144 votes cast, 24% (1st place) went to Dalí's mustache.

In the literature, attempts to interpret and describe Dalí and his beard can be found superlatives, remarkable paraphrases and unusual interpretations: the beard is an important part of his [Dalís] uniform as an eccentric artist, a curious trademark, Dalí's most easily recognizable feature , an exaggerated [...] feature of his post-1940 identity, a pop icon with phallic overtones, a powerfully waxed work of art that defies gravity . Gertrude Stein , who knew and admired Dalí personally, considered the beard “unequivocally Saracen” and was of the opinion that “Dalí had the most beautiful mustache of all Europeans”.

With increasing age, the beard became a little shorter again. One of the artist's last photographs - taken by Helmut Newton in Dalí's estate in 1986, three years after the painter had presented his last painting - shows the 82-year-old with a gray, drooping beard.

Beard inspirations

Both Salvador Dalí and Luis Buñuel , friends since college days, adored the actor Adolphe Menjou and Buñuel had dedicated an article to his mustache in 1928 in La Gaceta Literaria entitled Variations on Menjou's Mustache . Dalí - "Le surréalisme, c'est moi." - included Menjou's mustache with the statement "La mustache d'Adolphe Menjou est surréaliste." In his view of surrealism. During this time, the young surrealist and non-smoker drew attention to himself in society by pulling a cigarette case containing several small, fake Menjou mustaches out of his pocket and saying “Mustache? A mustache? ”Offered to other people.

  • Adolphe Menjou (1923)

  • Salvador Dalí (1934)

  • Luis Buñuel (1968)

  • Philip IV (1605-1665)

  • Diego Velázquez (1599-1660)

  • Marcel Proust (1871-1922)

It is controversial who or what inspired Dalí to wear his beard in the way that would later be typical for him. In this context, reference is made to two other important Spaniards: Diego Velázquez , whom Dalí revered by interpreting his paintings in his own way, and Philip IV of Spain , known as Philip the Great (Felipe el Grande) or King of the World (El Rey Planeta) , who wrote poetry and tried himself as a painter, during his reign had been a patron of art and poetry and had brought Velázquez to the Spanish royal court as a court artist . Salvador Felipe Jacinto Dalí i Domènech had the same first name and in Dalí's house you can still find a photograph of a Velázquez painting by Philip IV between two sconces designed by Dalí.

Dalí himself brought Marcel Proust into the discussion, whom he had already read as a teenager and whose writing style - long sentences, metaphors - he practiced himself. But Dalí only compared: “He [the mustache] is the most serious part of my personality. It's a very simple Hungarian mustache. Mr. Marcel Proust used the same pomade for his mustache. "

Dalí's mustache in self-promotion, advertising and literature

The high recognition value of Dalí's mustache has led to multiple, mostly commercial uses.

By the 1960s, the singer Françoise Hardy was well known and other celebrities were eager to be close to her or to show up with her. Jean-Marie Périer , a well-known photographer on the music scene of the time, took a whole series of photographs of Hardy and Dalí on Dalí's estate in Spain in October 1968, in which the artist, among other things, assimilated the singer by making one with her own hair Dalí mustache designed.

For the collected writings of Dalí's literary work, the publishing house Rogner & Bernhard 1974 chose a black-and-white photo of the artist in profile as the title page, in which only the part from chin to nose is shown, with Dalí's distinctive mustache in the middle.

The Salvador Dalí Museum in Saint Petersburg uses a stylized version of Dalí's iconic mustache on its website, and when the museum moved to new buildings, an advertising campaign was launched in 2010 that featured a giant, three-dimensional Dalí beard on a billboard . This painted plastic beard, which is 40 feet (about 12 meters) long and 14 feet (about 4.2 meters) high, has stood next to the museum since 2011 and has become a tourist attraction.

As an advertising campaign for the Italian Civita Art School, an advertising agency in Rome designed, among other things, a “Baby Dalí” under the motto Artists born here , who can be recognized as the artist just by his mustache.

In Kenan Görgün's fantastic novella La Mustache de Dali , the artist Dalí thought about his art and his mustache even after his death.

literature

  • Salvador Dali and Philippe Halsman: Dali's Mustache. A photographic interview. Simon & Schuster, New York 1954; New edition 1982 by Salvador Dali, Yvonne Halsman, Jane Halsman Bello and Irène Halsman.
    • French: Dali's mustache: Une interview photographique. Les Éditions Arthaud, Paris 1985. New edition, Éditions Flammarion, Paris 1994, ISBN 2-08-012433-1 .

Web links

Not all recordings shown there were used in Dali's Mustache . The website also shows the two versions of the alienated Mona Lisa - gold coins / Halsman's hands and dollar bills / Dalí's hands. The photograph with the Gruyère disc is missing.

Comments and individual references

  1. ^ Philippe Halsman: The Frenchman: A Photographic Interview with Fernandel. Simon & Schuster, New York 1949 (English).
  2. ↑ Halsman mentions in the genesis of Dali's Mustache that he still drives a convertible , which he owes to the financial success of the book and which he affectionately calls "Fernandel".
  3. ↑ a b Free translation: Caution! This book is absurd.
  4. ↑ a b Free translation.
  5. ^ Foreword to the English edition .
  6. ^ Front page of Time from December 14, 1936 .
  7. ↑ Dalí and Gala had arrived in New York City a week earlier, on December 7, 1936, for an exhibition at the Julien Levy Gallery - December 10, 1936 to January 9, 1937 .
  8. ↑ Free translation; Originally: "J'apparaissais alors portant la plus petite mustache du monde."
  9. ↑ In the original: "le plus glorieux poils faciaux".
  10. ↑ In the original: "le phénomène poilu le plus le plus sensationnel".
  11. ↑ Free translation; Originally: “J'ai le pressentiment d'avoir découvert votre secret, Salvador. Ne serriez-vous pas fou? "
  12. ↑ In the original: "Je suis certainement plus sensé que la personne qui a acheté ce livre."
  13. ↑ In the original from 1954, US law did not allow banknotes to be photographed. In the French editions, this recording - Dalí as Mona Lisa - was therefore replaced by the original with dollar bills.
  14. ↑ Eric Shanes: Dalí. Parkstone International, New York 2011, ISBN 978-1-78042-659-4 , p. 70 ( online ).
  15. ↑ After the photograph was completed and Dalí was no longer in the United States, Halsman learned that in order to avoid counterfeiting of banknotes in the USA in the 1950s, banknotes could not be photographed. For the first American edition, Halsman improvised by taking photos of his own hands holding gold coins and incorporating them into the picture. So today there are two versions of the Mona Lisa photo.
  16. ↑ Gianluca Spinato: Mona Lisa as a modern icon. www.academia.edu, accessed November 24, 2015.
  17. ↑ La Joconde et cette histoire de mustaches. Aphorismes & co, November 18, 2011, accessed November 24, 2015.
  18. ↑ The descriptions of the photographs, the comments and "Mustachomania" come directly from Halsman's afterword and are not individually documented.
  19. ↑ Dalí really wanted a picture with a fly (mouche) on his mustache (mustache) .
  20. ↑ The description of the problem solution takes up a full page of the afterword and mentions the commitment of Yvonne Halsman, who after a creative - but failed - approach was in tears. Work on it was postponed until next spring and the picture was taken in the absence of Dalí, who had already returned to Europe at that time.
  21. ↑ Free translation: “How some photographs were accomplished. Of interest only to photographers. "
  22. ↑ Dalí i Halsman, Bibliografia llibres i catàlegs (Bibliography in Catalan at the bottom right of "Versió en català" (PDF; 187.74 kB).)
  23. ^ Karin von Maur, Marc Lacroix, Rafael Santos Torroella, Lutz W. Löpsinger (introduction and catalog): Salvador Dali (1904–1989). State Gallery Stuttgart. Verlag Gerd Hatje, Stuttgart 1989, ISBN 978-3-7757-0275-1 , p. 496.
  24. ^ British Journal of Photography , Volume 141, Issue 6972, April 1994 ( online ): a great classic .
  25. ↑ Sean Callahan (Ed.): American Photographer , Volume 15, 1985, p. 94 ( online ): a delightfully clever photographic album ... and collectors item .
  26. ↑ Entry on the auctioned item at the Bonhams Action House .
  27. ↑ Michael Elsohn Ross: Salvador Dalí and the Surrealists: Their Lives and Ideas. 21 activities. Chicago Review Press, Chicago (Ill.) 2003, ISBN 978-1-55652-479-0 , p. 113 ( online ): a wild and crazy little book .
  28. ^ A b Desmond Morris: The Naked Man: A study of the male body. Random House, 2012, ISBN 978-1-4090-7572-1 , p. 137 f. ( online ).
  29. ↑ Tampa Bay Magazine , November / December 1991, ISSN  1070-3845 , p. 9 ( online ).
  30. ^ Vita of Salvador Dalí i Domènech. Fondation Gala-Salvador Dalí, accessed on June 28, 2016.
  31. ↑ a b c Capitaine Peter Moore, Catherine Moore: Flagrant Dali. Grasset, Paris 2009, ISBN 978-2-246-73249-5 , p. 47 ( online ).
  32. ↑ a b Dalí about Dalí in the preface to Dali's Mustache .
  33. ↑ Photography: Gala and Dalí (1933).
  34. ^ Philippe Halsman: Salvador Dalí in New York (1942). ( Memento from November 24, 2015 in the Internet Archive )
  35. ↑ Irving Penn: Salvador Dali (1947) .
  36. ^ Alfredo Valente: Salvador Dali (approx. 1950) .
  37. ^ Philippe Halsman: Salvador Dalí (around 1954) .
  38. ↑ a b Torsten Otte: Salvador Dalí. A biography with self-testimonies from the artist. Königshausen & Neumann, Würzburg 2006, ISBN 978-3-8260-3306-3 , p. 104 ( online ).
  39. ↑ a b Video: Salvador Dalí Reveals the Secrets of His Trademark Mustache on the US TV show The Name's the Same (1954) .
  40. ^ Presentation of the new wig in the Mae West Room. Gala - Salvador Dali Foundation, January 11, 2000, accessed June 13, 2016.
  41. ↑ Lluís Llongueras cuenta en un libro su larga amistad con Dalí y cómo logró que el pintor se pusiera rulos. ( Memento of May 22, 2015 in the Internet Archive ) In: La Voz De Galicia , April 14, 2003, accessed on June 13, 2016.
  42. ↑ Jordi Jové: Monográfico Salvador Dalí. Universitat de Lleida, Lleida 2005, ISBN 978-84-8409-547-7 , p. 73 ( online ).
  43. ↑ a b Bernard Pivot: Les Mots de ma vie. Albin Michel, Paris 2011, ISBN 978-2-226-22927-4 , p. 43 ( online ).
  44. ↑ Particularity in the sense of "discriminative characteristic".
  45. ^ Salvador Dalí: The Late Work. High Museum of Art, Atlanta 2010, ISBN 978-0-300-16828-0 , pp. 120, 126 and 130 ( online ).
  46. ^ Movember poll finds Salvador Dali had most famous mustache. The Telegraph, November 3, 2010, accessed November 21, 2015.
  47. ↑ Michael Elsohn Ross: Salvador Dalí and the Surrealists: Their Lives and Ideas. 21 activities. Chicago Review Press, Chicago 2003, ISBN 978-1-55652-479-0 , p. 113 ( online ): a major part of his uniform as an eccentric artist .
  48. ↑ Jay Robert Nash: Zanies. The World's Greatest Eccentrics. M. Evans, Lanham (Maryland) 1982, ISBN 978-1-59077-522-6 , p. 102 ( online ): strange hallmark .
  49. ^ A b Roger Rothman: Tiny Surrealism: Salvador Dalí and the Aesthetics of the Small. University of Nebraska Press, Lincoln / London 2012, ISBN 0-8032-3649-2 , p. 182 ( online ): Dalis most recognizable trait , exaggerated […] feature of his post-1940 identity .
  50. ^ New York Magazine , July 11, 1994, ISSN  0028-7369 , p. 44 ( online ).
  51. ↑ Fleur Cowles: The Case of Salvador Dali. Little, Brown, 1960, p. 296 ( online ): phallic overtones .
  52. ^ New York Magazine , November 22, 1993, ISSN  0028-7369 , p. 76 ( online ): gravity-defying .
  53. ↑ Michael Elsohn Ross: Salvador Dalí and the Surrealists: Their Lives and Ideas. 21 activities. Chicago Review Press, Chicago 2003, ISBN 978-1-55652-479-0 , p. 113 ( online ): heavily waxed and flexible work of art .
  54. ^ Mary Ann Caws: Salvador Dalí. Reaction Books, London 2009, ISBN 978-1-86189-627-8 , p. 63 ( online ).
  55. ^ Gertrude Stein: Everybody's Autobiography. Vintage Books, New York 1973, ISBN 978-0-307-82977-1 ( online ).
  56. ^ Helmut Newton: Salvador Dalí (1986).
  57. ↑ Rob White, Edward Buscombe: British Film Institute Film Classics. Volume 1, Taylor & Francis, London / New York 2003, ISBN 978-1-57958-328-6 , p. 120 ( online ).
  58. ^ Luis Buñuel, Garrett White: An Unspeakable Betrayal: Selected Writings of Luis Buñuel. University of California Press, Berkeley / Los Angeles / New York 2002, ISBN 978-0-520-23423-9 , p. 112 ( online ).
  59. ^ Román Gubern, Paul Hammond: Luis Buñuel. The Red Years, 1929-1939. University of Wisconsin Press, Madison (Wisconsin) 2012, ISBN 978-0-299-28473-2 , p. 74 ( online ).
  60. ↑ Jean-François Guédon, Hélène Sorez: Citations de culture générale expliquées. Eyrolles, Paris 2011, ISBN 978-2-212-86258-4 , p. 140 ( online ).
  61. ↑ Michel Nuridsany: Dalí. Flammarion, Paris 2004, ISBN 978-2-08-068222-2 , p. 177 ( online ).
  62. ^ Robert Descharnes: Salvador Dali: The Work, the Man. HN Abrams, New York 1984, ISBN 978-0-8109-0825-3 , p. 291 ( online ).
  63. ↑ Jonathan Jones: Of misfits and kings. The Guardian, January 21, 2006, accessed September 17, 2009.
  64. ^ Clifford Thurlow, Carlos Lozano: Sex, Surrealism, Dali and Me: The Memoirs of Carlos Lozano. Maximilian Thurlow, 2000, ISBN 978-0-9538205-0-4 , p. 65 ( online ).
  65. ^ Henri-François Rey: Dali dans son labyrinthe. Grasset, Paris 1974, ISBN 978-2-246-80005-7 , p. 15 ( online ).
  66. ↑ Antonio Pitxot, Montserrat Aguer: Salvador Dalí House-Museum Portlligat-Cadaqués. Triangle Postals, Menorca 2008, ISBN 978-84-8478-361-9 ( online ).
  67. ^ Salvador Dalí, Jack J. Spector: La vie secrète de Salvador Dali: suis-je un génie? Édition critique des manuscrits originaux de La vie secrète de Salvador Dalí. L'age d'homme, Lausanne 2006, ISBN 978-2-8251-3643-0 , p. 188 ( online ).
  68. ^ Magazine littéraire , 2004 ( online ).
  69. ↑ In the original: “It's the most serious part of my personality. It's a very simple Hungarian mustache. Mr. Marcel Proust used the same kind of pomade for this mustache. "
  70. ^ Philip Sweeney: Arts: Don't talk to me about the Sixties. The Independent , October 23, 2011, accessed November 22, 2015.
  71. ^ Jean-Marie Périer: Dalí and Françoise Hardy (October 1968).
  72. ^ Salvador Dalí: Declaration of Independence of the Imagination and Declaration of the Rights of Man to His Madness, Collected Writings. Rogner & Bernhard, Munich 1974, ISBN 978-3-8077-0079-3 .
  73. ^ Timeline - A Century of Salvador Dali. Website Salvador Dalí Museum in Saint Petersburg / FL, accessed June 29, 2016.
  74. ↑ Illustration from “Dalí's mustache”. tripadvisor.co.uk, accessed November 22, 2015.
  75. ↑ Advertising campaign of the Civita Art School: Baby Dali - Artists born here ( Memento of the original from November 24, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , Yes I AM advertising agency , Rome. @1@ 2Template: Webachiv / IABot / adsoftheworld.com
  76. ↑ Kenan Görgün: L'Enfer est à nous. Quadrature, 2005, ISBN 978-2-9600506-0-8 , p. 10 ( online ).
  77. ↑ The spelling Dali ("i" without acute ) is used consistently in the book .
  78. ↑ In the French version Une interview photographique , d. H. A photographic interview .
This article was added to the list of excellent articles on July 5, 2016 in this version .