The Swallow’s Tail, 1983
At age 79 and in failing health, Dali painted his last picture.
Dali borrowed these geometric forms from French mathematician Rene Thom . The swallow’s tail, of course, is reminiscent of Dali’s moustache. Some people think Dali predicted his death in this painting. He is buried in Figueras, in the basement of his Teatre-Museu .
The Metamorphosis of Narcissus, 1937
Shirley Temple, the Youngest, Most Sacred Monster of Cinema in Her Time, 1939
Slave Market with the Disappearing Bust of Voltaire, 1940
Raphaelesque Head Exploding, 1951
The Colossus of Rhodes, 1954
Hallucinogenous Bullfighter, 1970
Wind Palace, 1972
This is a ceiling painting in the “Teatre-Museu ” in Figueras.
Soft Self Portrait with Fried Bacon, 1941
Dali describes this painting as “an anti-psychological self portrait; instead of painting the soul, that is to say, what is within, I painted the exterior, the shell, the glove of myself. This glove of myself is edible and even tastes a little rank, like a hung game; for that reason there are ants and a rasher of fried bacon in the picture. Being the most generous of all artists, I am forever offering myself up to be eaten, and thus afford delicious sustenance to the age.”
Gala with Two Lamp Chops in Equilibrium on Her Shoulder, 1933
Angelus of Gala, 1935
Galarina, 1944-45
My Wife, Naked, Looking at her own Body, which is transformed into Steps, Three Vertebrae of a Column, Sky and Architechture, 1945
The Madonna of Port Lligat, 1950
The Discovery of America by Christopher Columbus, 1958-59
Gala Looking at the Mediterranean Sea which from a Distance of 20 Meters is Transformed into a Portrait of Abraham Lincoln, 1976
The Temptation of St. Anthony, 1946 Picasso said during this period that Dali was: “…the only Renaissance painter left in the world.”
Christ of Saint John of the Cross, 1951 The perspective of Christ himself is based on the Renaissance Law of Divine Proportion.
Crucifixion (Corpus Hypercubus), 1954 Dali defines this painting as “a sensational picture, an explosive, nuclear and hypercubic Christ, a metaphysical work…”
The Sacrament of the Last Supper, 1955 Symbolic geometric elements are apparent in this painting. Behind Christ is a dodecahedron- an element formed by 12 pentagonal faces- which relates to the number of apostles. The open-armed Christ in the background could be a reference to the Resurrection.