The exhibition Huellas Dalinianas reflects Salvador Dalí’s (Figueras, 1904-1989) influence on the Spanish avant-garde, from 1929 until after the Civil War. This exhibition is part of the Museo Nacional Centro de Arte Reina Sofía’s programme celebrating the centenary of the birth of Catalan artist, which is accompanied by another almost simultaneous exhibition at the Museum, Dalí. cultura de masas.
Dalí's name is attached to the surrealist movement, although his conception of art and existence goes beyond any classification or trend. Around 1927 -and especially from 1929- the artist becomes a diffuser of formal elements typical of surrealist imagery. It is in this year that Dalí moves to Paris and fully devotes himself to this movement. From that moment he becomes a reference for the contemporary peninsula avant-garde, raised to the level of great artist such as Pablo Picasso, Juan Gris and Joan Miró. After making various artistic experiences in dialogue with Max Ernst, Hans Arp, Yves Tanguy and Miró and which wielded a provocative purging of the negation of art, Dalí’s artistic language crystallises definitely. Thereafter, Surrealism intensively spreads in Spain, to the point of becoming a priority for the artistic avant-garde until the Civil War.
Although there were many references that guided the different directions of Spanish Surrealism, the Dalinian shapes that play an undisputed main role are highlighted in this exhibition. In this way, the pieces created by various artists selected for this exhibition establish a formal or semantic dialogue with those produced by the Catalan artist. These "Dalínian traces", of a complex nature, can be defined as a sprinkling of alloys on the poetic and visual territory of Spanish artistic revival. These traces are reflected in the pieces displayed in the exhibition, sometimes emphatically, while in other cases the Dali’s traces are a reference to start many different projects. In any case they show a vivid presence in much of the manifestations of Spanish art from this period, on many different levels: Catalan, Aragonese or Tenerifian as well as in important aspects of the "poetics of Vallecas" that was widely diffused throughout the whole peninsula during the Thirties.
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