Towards the end of the 1920s, taking French psychoanalyst Jacques Lacan’s theories as a starting point, Salvador Dalí arrived at the discovery of the paranoiac-critical method, a system of research that the painter defined as a “spontaneous method of irrational knowledge based on the critical and systematic objectivity of the associations and interpretations of delirious phenomena.” One of the iconographic variants in Dalí’s paranoiac-critical repertory is the so-called “caprices”, or subjects selected by chance. One of them was Millet’s L'Angélus (The Angelus), a painting exemplifying Christian morality of the 19th century, which Dalí admired enormously. During the process of re-interpreting the subject, Dalí gave it erotic connotations of varying levels of explicitness, as he did with the majority of his output. All this can be seen in the version belonging to the Museo Reina Sofía, entitled Ángelus arquitectónico de Millet (Millet's Architectonic Angelus).
Paloma Esteban Leal