Word: daly
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Dates: during 1930-1939
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...cleverer, far more alluring is the show opened last week by Surrealist Salvador Dali. A writhing plaster castle on the outside, it shrewdly combines surrealism with sex, inside, proves that there is plenty of Broadway method in Dali's madness...
...such subaqueous décor as a fireplace, typewriters with funguslike rubber keys, rubber telephones, a man made of rubber ping-pong bats, a mummified cow, a supine rubber woman painted to resemble the keyboard of a piano. Whatever this may mean as art, the exhibitors did not dilly-Dali over it. Into the tank they plunged living girls, nude to the waist and wearing little Gay Nineties girdles and fishnet stockings. Swimming, grimacing, doing the Suzy Q, milking the cow, playing the "piano," these Lady Godivers, seen at close range and a trifle water-magnified, should win more converts...
...first-rate importation form Mars is the Classical Club's production of the Birds of Aristophanes. A combination of the imagination of Jules Verne and Salvador Dali could not have concocted such a triumph of weird and otherworldly wildness as kicked up the dust in Sanders Theatre last night. Fantastic masks, brilliant costumes, lighting of all colors of the rainbow,--it's impossible to describe, but the nearest thing to it is Barnum and Bailey at their best, minus the elephants...
...eight articles on mediaeval art, twenty-two on Renaissance and Baroque Art, and one on Modern Art. Perhaps it is because the critical apparatus of most scholars is so beautifully equipped to deal with Masaccio and Piero della Francesca that it finds itself at a loss when confronted by Dali and Gropper. At a symposium on Modern Art some years ago, I heard a scholar who has written much and wisely on the art of the Italian Renaissance attempt, quite unsuccessfully, to cope with some of the more extreme forms of modernism; I concluded that his powers of connoisseurship were...
...dream world which Dali has recorded is as specialized as it is vivid. Once a boy wonder at copying Vermeer and Leonardo, he discovered by self-analysis in Paris that he had a persecution complex (paranoia). His oil technique remains that of a brilliant, baleful Vermeer; his images are obsessive, malignant, and recur in painting after painting: unearthly shores and infinite plains, cliffs glowing with sunset, exhausted human profiles on flesh-blobs like stranded sea cows, attenuated human limbs held up by forked props and peduncles, shiny French telephones, lustrous big black ants. No. 1 criticism of Dali is that...