Buy superb reproductions of Salvador Dali's paintings, in all respects similar to the master's works. Choose from dozens of canvases.
Our reproductions of Salvador Dali's paintings are handmade and made with oil paint on a quality canvas. They are used for interior decoration and will embellish your living or working place.
We pay special attention to our fabrics to ensure an exceptional rendering. Our superb copies of Salvador Dali paintings are of the best quality, and will become works of art that you will keep for a lifetime.
Making reproductions of Dali's paintings is always a pleasant experience for the painter.
His paintings are interesting because they are diverse, although almost all following the same "delusional" line, at least for his mature works, following his Paranoiac-Critical method, or by his words: "a spontaneous method of irrational knowledge, based on the critical and systematic objectification of delusional associations and interpretations ”
It remains that the reproductions of Dali's paintings make it possible to study a lot of different techniques, such as making his trompes l'oeil, his drawings of shapes that only appear under certain conditions, etc.
When we look at Slave Market with the appearance of the invisible bust of Voltaire, we realize the difficulty there is in reproducing Dali's works.
Indeed, for the bust of Voltaire to appear, each of the characters who compose it must be painted exactly, so that the illusion takes effect. A wrong color, a minimal error of drawing ... any contest to make reproduction difficult.
Reproductions of paintings by Salvador Dali require finesse
They are all rich in detail, and all the details make sense in the apprehension and understanding of the works of Salvador Dali.
The fact of having a motley set of objects to assemble is not so much the problem, as that of having to reproduce unusual and eccentric objects, in their forms and their arrangements. If, for example, in a classic painting you have to reproduce a comb, it's a safe bet that it will have the shape of ... comb! Which is not true with Salvador Dali. It is therefore for the painter who reproduces his works to grasp the whole meaning of the painting, before copying it.
The effectiveness of the whole work lies in the details of all its parts, and great care is needed to make satisfactory reproductions of Dali's paintings.
The turbulent character has sometimes made us forget the important work of the painter. Dalí was nevertheless a meticulous and relentless painter, designing his canvases at length and producing them with a care that he wanted close to his classical masters, Raphael or Vermeer.
More than any other, the Italian Renaissance was for Dalí a permanent and indispensable reference. If he considered himself the best designer of his time, he recognized that his drawings "are worth next to nothing" against the great masters of the Renaissance. Admirer of Leonardo da Vinci (in whom he finds the roots of his paranoiacritical method), he carried Raphael to the pinnacle for a long time, proclaiming that he was the only contemporary capable of understanding it. Towards the end of his life, the characters of Michelangelo played a considerable part in his pictorial production. He also devoted his entire life to a boundless admiration for Velasquez. Vermeer was another beacon, the technique of which he sought at length to imitate, and he sometimes succeeded. Very young, he was influenced by the impressionist influence by the proximity of the Pitchot family, including Ramon Pitchot (1872-1925), an impressionist painter, and one of the first Catalan impressionists. He admired Renoir but hated Cézanne ("the worst French painter"). He never ceased to praise Meissonier ("a real nightingale of the brush"), whose lack of genius he mocked but whose incredibly meticulous technique impressed him. Picasso was a kind of big brother who welcomed him when he arrived in Paris. Dalí sought all his life to confront him, the only contemporary artist to whom he recognized a genius at least equal to his.
The first preserved paintings show real precocious talent, from the age of 6. His first portraits of his family in Cadaques already have an astonishing pictorial force, notably impressionist. Playing with the material, he mixed gravel for a while with paint (Old Twilight, 1918). During his stay at the Academy of Fine Arts in Madrid, he regretted the lack of theoretical training. Then began an era of various influences, the young Dalí soaking himself like a sponge with various techniques:
pointillism (Nude in a landscape, 1922),
cubism (Autoportrait cubiste, 1923; Mannequin barcelonais, 1927),
Picasso (Venus and a Sailor, 1925) ...
The decisive encounter with surrealism unleashes its extraordinary creative power. He was influenced by René Magritte but quickly acquired his own first style (Honey is sweeter than blood, 1926; Cenicitas, 1928). His work will henceforth be filled with personal allusions, often encrypted, which he reuses at will as the obsessive figure of the Great Masturbator, which he uses many times in 1929 (Portrait de Paul Éluard, 1929; Le Grand masturbateur, 1929)
The theme of the double or even multiple image quickly settled in from the 1930s, and he remained attached to it for most of his career. Dali's brilliant eye perceives in an innocuous image, another image which he uses as a support to disturb the reality and the meaning of the canvas; The Invisible Man (1929) is the first example. Until the end of his career, he will endeavor to play with the eye of the beholder (Fifty abstract images which seen at 2 yards change into three Lenin masked in Chinese and which seen at 6 yards appear at the head of the royal tiger. , The Hallucinogenic Torero, Gala looking at the Mediterranean Sea which at twenty meters turns into a portrait of Abraham Lincoln - Homage to Rothko)
Discovered at Perpignan station, Dalí developed a passion at the end of his career to paint double images with a stereoscopic effect. These works are not easily accessible for reproduction, they are very numerous at the Dalí museum (Athens is on fire!).
Dali claimed a very classic technique, remaining faithful to oil painting for almost all of his painted work. The work is almost always very meticulous, with very careful preparatory drawings and meticulous execution, often with a magnifying glass. Some tiny works testify to a true talent of miniaturist (First portrait of Gala, Portrait of Gala with two lamb chops balanced on the shoulder)
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