Monday, March 30, 2009

Precession and the ZODIAC

"Precession" is described in the dictionary as a noun meaning: The motion of the axis of rotation of a spinning body (e.g. a gyroscope) about a line that makes an angle with it, so as to describe a cone. It is caused by a torque acting on the rotation axis to change its direction, and is a motion continuously at right angles to the plane of the torque causing it and the angular momentum vector of the spinning body.

"Pre" is described as: beforehand (preparatory to) before, in front of (in location, order of importance or degree etc.).

The dictionary also describes the word "cession" as: the act of ceding or giving up (such things as land, property, rights etc.). It's a word originating from a root in the French language.

Now, have you guessed what the ancient Freemasons meant when they first designed and named the signs and degrees of the Zodiac? Think about it, a cone sucks in to its base. It never blows out, unless it's a trumpet that makes noise - to announce their arrival! A precession is a funnel that sucks in all of the resources which were intended to be your birthright. It gives Freemasonry's leaders much pleasure, or "fun", as in funnel. Unquestionably, Zodiac signs are the visible public symbols of their Master's plan to take away you "land, property, rights, etc.".

Freemasonry created the vortex that caused cartels to come about. This called "involution". It reverses Creation's "evolution". They are the revolutionaries. That's why the Zodiac begins with "Aries".

In Masonic hieroglyphics an O stands for Original Peoples, while an X means "to be abolished or eliminated". being an X makes one irrelevant. Simply put, a "beast of burden".

Also, is it any wonder that the O is included within the design of the second symbol in the Zodiac which is Taurus?

As with time on the clock, the smallest unit being "a second", the coded message must be that the second is really the first!

This would also explain why, in the military, Colonels know more about what is really going on than do Generals; in business, Chief Financial Officers (CFO's); in organized religion, Arch Bishops know more than Cardinals, and finally; in politics, Deputy Ministers know more than Ministers.

As well, the 5th symbol of the Zodiac, Leo, being the true mark of Masons, describes this priciple to a T, while the 4th symbol, that which sigifies Equilibrium, describes only the illusion. It's much the same with the months of the year, where April, the 4th month, symbolizes April Fools, while May, the 5th month, is the month that gave birth to such earth shattering events as the establishment of the Illuminati and Communism. May is also the month of Mary in the Catholic church. Mary is Freemasonry's coded word for Mar is Y. It means the sea (mara) is the original androgynous, hermaphrodite, virgin mother.

Also, did you ever wonder why women are said to have X chromosomes while men have both X and Y? Could it be that X is "the mark of the beast" which is spoken about in the Bible, in John's "Revelations"? (Bible is really "le bib" - two words meaning the Masonic apron). Afterall, anyone who sign their name with an X, would viewed by these E lites (lite E) as being of a lower class and ultimately irrelevant.

Think about it folks, we've all been had by the controllers of Freemasonry.

This is the plan for the end times
Can you read it?

The Kealey Paper *Issue 17* January to May, 2000


Freemasonry's coded ZODIAC
1 degree=72 years
1 Sign=30 degrees x 72 years=2160
12 Signs x 30 degrees=360 degrees
1 Precession=2160 years x 12 signs=25,920 years



2=Public Servant
6=Control Freak
8=Property & Poverty
9=Mind Control
10=Middle Management

Freemasonry's coded CHARACTERS

E=triune plan
N=new beginning
W=new life
X=10 or 0
Z=above & below

Breaking the Codes

The following are Freemasonry's "two secret keys", the gold and silver keys. They can be used only by those who understand allegory and need to decipher the Predator Priests' agenda for the End Times.

They first key is the word Liber which, in the Mason dictionary, means "The Book". The Book is the second book depicted in Masonry's important symbols. It is shown as an open book (Enoch - The Book of Truth) with the words " I am the truth" printed on it. One allegory for this symbol is "The Book of Ruth", which itself is found in the Bible.

The Book of Ruth is a tale about two women, This book relates to Freemasonry's step by step systematic plan, ie: Seduction and Tenacity lead to land acquisitions. The Book of Ruth also includes a second level of symbolism. Where Ruth is arrived at by ignoring the the first "T" in truth, it also reveals "a symbol within a symbol". By dropping the letter "R", in Ruth, we arrive at Uth, which phonetically converts to Youth, and eventually to Uth-a, the current home state of the Mormons.

Liber is also the root word of Liber-als, of Liber-a-tion and of Liber-ace. These words are all symbols of the newly grafted gender which is to be introduced in the End Times by the Predator Priests who secretly control Masonry's B-r-ass. HER-MA-PHRO-DITE is the name of this new gender that will merge both male and female, mother and father, into a single body. It is symbolized Scottish Rite Freemasonry;s two headed eagle. This is symbolic of the new species which the Predator Priests expect will eventually assure them "Eternal Life", by taking them into the universe, past our solar system. They plan to terra form on a new plan-et located with the beneficial range of a younger sun (youth). This the Masonic solution to creating Eternal Life. The word Predator is symbolic of their journey - it "predates gold". Silver is #2 and in Masonry #2 is always more important then #1.

The second key is the word Tor. It means Hill or Rocky Peak, as is found in both Devon and Cornwall. Devon was the name used by Former Prime Minister Brian Mulrony on his secret Swiss bank account. Peaches and cream corn symbolizes the result obtained from grafting two different strands of DNA. As well, the word Torahis symbolic of the number 5 which itself, is symbolic of Freemasonry. It stands for the first five books of the Bible, the Mason Bib, or apron. It may be very sigificant that Tor Bay is located 5 miles north from St. John's Newfoundland. Also, a Torch, as it is used in the Olympics, is a symbol which refers to the secret Mission of Tor. "Tor" is also a root of the name Toronto (onto Tor).

Tori, is of Torus, which is a "donught shaped chamber". It signifies the underground Troglodyte network which is being used by Predator Priests, since "Time Immemorial" Finally, a Tory is a Jacobite. The name identifies those who share power with the ancient Predator Priests #2 is #1.

The Kealy Paper *Issue 17* January to May, 2000

The Big Four G Spots of Freemasonry

(in order of least importance?)





Seven Veils in our Language

1: 8,ooo languages (English - the Master's peace)

2: Meaning of the wo rds and spelling (to cast a spell)

3: Allegory (female/male gory) and symbols

4: Mirror imaging (backward writing - ie: Enola Gay)

5: Sounds or phonetics (taught by the Phoenicians)

6: Hieroglyphics of each character (as in a play)

7: Alpha-numeric conversion (Kabalarian)

Sunday, March 29, 2009

Police Chiefs silence borders on contempt

Freemasonry is mysterious, and mystery is usually open to suspicion. But your Police Chiefs don't seem to care. Neither does the National Media. As a matter of fact few people in charge ever seem to care about anything. When you pay taxes to help care for the poor all the elites do is search for volunteers to do the work that you've already paid for with your money, sweat and tears: "....lend me your eers".

For your controllers you are just "worker or military bees" living out the program that they implanted in your brain. Troglodyte themselves must live in greater comfort and security, in the icy caves of Greenland and Antarctica where they have made their homes.

Some say "A wish is father to the thought and this thought creates the will". Masons know all about this concept and this why they created the English language. Along with their other symbols and numb'ers it's their universal language. Your wishes, far from materializing your own will, because of the 17th century New English words that you must learn and use without ever understanding their true meaning, you are unwittingly continuing to materialize your controllers wishes. It's a condition of utter barbarism by which you gradually lower to a lesser state of civilization.

No one ought to be a silent witness to be their own enslavement. But you are the sheeple and Police Chiefs view you with contempt.

Masons have at all times communicated to mankind only such secrets as might be useful to them alone, and have kept back those that might assist you to expose their evil intent. They have carefully reintroduced the wisdom of the ages only to those who do their bidding, always when it's convenient to their cause and only on a "need to know" basis. Its always been that way in agriculture, architecture, astronomy, geometry, arithmetic, the law, music, poetry, chemistry, government and religion. They teach teachers.

Rosicrucians and Jesuits have fabricated all the miracles that you are told about. They orchestrate future events and claim to be fortune tellers and mind readers. They create fear and hysteria every day on television, and then, sell you the pills they make to calm you down.

And what are our police doing about these atrocious crimes. ABSOLUTELY NOTHING. Instead, they seek tighter gun control laws to disarm you. Meanwhile, squeegee kids, panhandlers and prostitutes get most of their attention.

The Kealey Papers *Issue 17* January to May, 2000

They made a U turn

Did you know that before European began to make the Christian sign of the cross on their foreheads, hoping to protect themselves from evil spirits (evil is "live" spelled backwards) they had another sign? It was the sign of the bull, known as Taurus in the Zodiac. This "pagan" message meant - Tau R us - we come and go! The symbol is composed of an O , which stands for original peoples, complete with a U on its top, like horns on a bull's head. In one Masonic symbolism the U stands for making a U turn. The Cretans (13,000BC), the Phoenicians (4,000BC) and the Vikings (800AD) had each functioned as Freemasonry's paid Corporate Pipe Carriers. Each had distributed, in turn, numerous versions of very similar middle Eastern art and culture, complete with at least one Sun based religion and along with any single one of the 6000 different pre-coded Masonic languages, to every corner of the globe. As their first symbol, peoples before our time had used the "mark of the T", or Tau cross. It is the main symbol of the Taoists that is in use in the middle east and all the way to China. The T which comprises only of those parts from the cross bar down, without any extension appearing above the cross bar, symbolizes the role of the user as being that of simple transmitter energy and/or information. Taoists were never intended to the end users of any energy or information in their own right, but were simply born to be bees: "worker bees". Best of all for their controllers was the fact that they all insisted they had been born to bee free. That's right, to work like bees for free, ie: No Charge!

Later, 1700 years ago, there appeared to be the new Christian cross which is still in use to this day---This new cross symbolizes Masonry's long underground journey - north out of Africa; the eventual creation in the middle east of a Sun centered religion which is most commonly depicted by the Zodiac; and then, a step by step expansion in all four directions across the globe and finally, - travel byond the original limits of this earth's sun. This sign implies a final journey towards the stars, to explore the universe in all four directions outside of our solar system.

To undertsand this symbolism begins by knowing that when you "undertstand" you are in fact "standing under" when what you should really be doing with your quest for the truth is "overstanding". Overstanding simply implies that you are outside and above Freemasonry's ability to control your mind.

All 26 of the major organized religions and every one of the 6,000 languages we use were created by secret societies such as the Freemasons. Freemasons are creatures of ritual and habit. Once they establish their civic structure among the intended users they will always move away, out of the limelight, until such time as the users accept the new culture as their own. Then, they order the agents who act in public on their behalf (an ab-originals of any race color or breed), to, for some reason or other, outlaw the particular culture, religion or langauge from everyday use.

The peoples normal reaction is then to fight like hell to keep the very things that bind them to their control. As a result they don't ned military force to control us, all they need is to convince us that the "system" they've created for us is the the safest place for us to bee. Like in the sea we fall for it hook, line and sinker.

By the way, have you ever wondered ehy our attendance at school is now mandatory? Just watch how a school of fish responds to the orders of their leaders; then you will know.

The Kealey Paper *Issue 17* January to May, 2000


RAMA-KANDRA: No. I don't mind. The answer is simple. I love my daughter very much. I find her to be the most beautiful thing I've ever seen. But where we are from, that is not enough. Every program that is created must have a purpose; if it does not, it is deleted. I went to the Frenchman to save my daughter. You do not understand.

NEO: I just have never...

RAMA-KANDRA: ...heard a program speak of love?

NEO: It's a... human emotion.

RAMA-KANDRA: No, it is a word. What matters is the connection the word implies.

Roman Catholic Priests who manipulate Freemasonry

(Constantine 1 the Great - Edict from Milan, 313 A.D.)
Council of Nicaea, 325 A.D. Second Synod of Constantinople, 553 A.D.

Augustinians - Augustine - 395

Benedictines - Benedict - 529

Cluniacs* - Benedictines - 910

Cistercians** - Benedictines - 1098

- Crusades begin, 1099- -Knights Templars are authorized, 1118-

Carmelites - Mount Carmel - 1150(+-)

Franciscans - Francis of Assisi - 1209

Dominicans*** - Domingo de Guzman - 1215

-Inquisitions begin, 1233-
-Military Crusades end, 1270- -Spanish Inquisitions begin, 1478-
-Machiavellian Principles of Social Engineering are applied, 1513-

Jesuits**** - Ignatius Loyola - 1534

Trappists - Cistercian - 1664

Redemptorists - Alphonsis Liguori - 1732

Oblates - of Mary Immaculate - 1816

*The Cluniacs were a Benedictine cut out founded in eastern France. They moved to Northern Italy, at Lake Como, Cluniacs and Benedictines, working side by side with Lombard family dynasty, controlled the construction sites of thousands of cathedrals throughout Europe.

**Cistercian Order members founded the "Order of New Templars" (ONT), in 1907. It was a prototype for the "Vril & Thule Societies" (1918), and later, the German "SS"

***The Dominicans were the Vatican's torturers during the Inquisitions. Torture was considered to be a valid means of obtaining a confession.

****Jesuits means "I Am" in French, "I ma" in Masonry. They are Freemasonry's teachers.

Jesuit---Je Suis---I Am "Yes U it"!

"I am that I am". In French , "Je suis qui je suis".

Qui? Qui means "whom" in French. The answer for the Jesuits is obvious - Yes U it!

In the Middle East the modern letter J is pronounced as Y. It's Yerusalem, not Jerusalem. The name is pronounced Your U, Salem. There4, the real name of Freemasonry's controllers be "Yes U it" and not Jesuit, as pronounced in English.

The language of the MAYA, the native priests who lived in Central America was Quiche. The Maya were North America's first indigenous corporate pipe carriers. may is also the fifth month of the year. Thursday, (boys night out) is the fifth day of the week. The numb'er 5 is drawn by combing a right angle above a dome shape below. It is lying on its side. May is a big month with Freemasonry, because it is also the month of Mary, Communism and the illuminati; their creation.

The letters that make up Qui also appear in the name Algonquin. Qu appears in the name Quebec and Qu'appel, which is the valley by which Freemasons expect to divert Canadian fresh water from Manitoba (Manito-u-BA) in the first phase of diverting water to Colorado; through the Mulrony/Lafarge Grand Canal, Qui is also part of the name of the capital of Ecuador. Quito the Andes mountains of South America. This is the area where the Incas first appeared (incus is the hammer in your ear). They were followed by the Maya who in turn wer followed by the Aztecs. The Aztecs (as tex) became Texas.

The Jesuits were number two when the Spaniards looted, raped and pillaged Mexico. Twenty four million Mexicans died in seventy five years. They were also number two when the opium wars were taking place in China and south east Asia, and again, these Black Robes were number two when the French first came to Quebec. It was the land of Pontiac (which, in French, means....the pont ....iac

A second is the smallest unit of time. Ask yourself why (Y), on your clock, that a second is really the first? Isn't that just like a Jesuit, to always be numb'er 2?

The Kealey Paper *Issue 17* January to May, 2000

Freemasonry is organized religion's Conspiracy Theory

There are two great crimes in our society: having a functioning brain, and using it.

This is especially true if one has concluded that Freemasonry's big G stands for GRAFTING a.k.a. Generative principle. Detecting the symbolism of Father Time as he takes a cutting (a sion) from the virgin's hair in order to determine her DNA structure is enough to get you into serious trouble with the predator priests who control the 57 secret degrees of Freemasonry.

The "I AM" priests whom we call Jesuits, believe that women are irrelevant in the context of coming space exploration and that's why they're helping Masonry to create hermaphrodites. Your "Pa" will be you "Ma" if these men who wear dresses in public get their way.

Jesuits control the illusion side of Freemasonry. They create the seven veils in language, veils which are clearly defined in the New Testament. The word NEW, once deciphered, means "grafting, the plan for 2nd creation". It means The other word is TESTAMENT. It means "teaching the plan's way - ie: MA is a 10". Movies also create illusion. Along with George C. Raft acting the part of Al Cap(st)one, the first big crime boss of Chicago, Raft also played a vital role as the real life Caliph of Hollywood California. Movies about gangsters who operated openly in Chicago served a secret purpose which was not easliy understood by the majority. As the movie Midnight Express kept people away from Turkey, gangster movies kept many honest people from moving to Chicago. This what allowed Masons to operate more freely in the Second City.

Chicago is the home of the Rockefeller Foundation. It is also the headquarters of the coming "Food Cartel. Water diversion fromthe Great Lakes to the Mississippi built by the U.S. Marines' Engineering Corps, guarantees the constant supply of fresh water to the east side of the North American food basket. What is now required is a second matching stream of fresh water dowb the western edge of North America's "big farm". And thats where former Prime Minister Brian Mulrony comes back into our lives. As a director od ADM he is directing the construction of the Great Canal. When completed in 2015, the new canal can move fresh water fro British Columbia and Manitoba, through Alberta and Saskatchewan and be diverted south to Colorado, Nevada and Arizona. A food cartel is Masonry's capstone.

This also explains the emphasis being placed, by Hollywood, on rigged gambling and other criminal activities that are being highlighted in movies such as Casino. It reminds us of Steven Spielberg, the premier hollywood shape shifter, who first introduced us to a new bisexed male gender, the HERMAPHRODITE, in a flick he was instructed to title "Close encounters of a third kind"

Kealey Paper *Issue 17* January to May, 2000

Heer's Johnny ....Appleseed

Anyone who reads the story of Noah in the bible should understand that no boat of the size described could ever carry two of each animal on board, as the bible says. What you are in fact reading is an allegory.

An allegory is a story, play, poem or picture in which the meaning or message is represented symbolically, ie: if one slices an apple horizontally - the core creates a perfect five pointed star.

If two of each animal could be physically enclosed within a boat or ark what then is the symbolism of Noah's ark. The ark is symbolic of a container which has been grafted with the DNA or genetic materials that are essential to cloning life. Such is the symbolism of an apple and the seeds contained with its core. The apple is the "key".

Obviously, because of the detain given in the original Bible story, what we are dealing with here is survival of earthly forms, means of a method of transportation that would carry it from one world which is in peril to another safer world where it can be reestablished. Life can always be "born again", as long as it does not all perish in one place at one time, due to some totally natural, foreseeable calamity.

Such a calamity would come about when our sun dies or at a time of major "earth crust displacement". Life cannot live in one place in the universe forever. It is limited by the life span of the solar system in which it resides. And, since all solar systems die eventually, if one of life's species wants to live forever, then, life must take the necessary precautions - ie: by exploring other solar systems that are younger than ours. Once a new planet has been terra-formed it could provide a place of refuge for continuing life.

Such a journey, because of the vast distances involved, must be planned within the context of one way travel. A craft that would allow for the exploration to be successful is exactly the reason why Freemasonry is called the a "craft". It is the Craft that was designed and built in the Russian province of Georgia, next to Mount Ararat. This also why the ancient Caliphate of the Abbasides, the people who controlled Spain at one time, also created the movie making in their state of California. One of the first stars of Hollywood was a tough guy called George Raft. He was an allegory for a "Georgia raft".

A capsule that can carry seeds of life will, by necessity, be a live version of Johnny Appleseed. And, because the designers of this live model that will caryy human seeds are predator priests, they are using the coming opportunity of inter-stellar travel to clone Hermaphrodites for the job.

Freemasons are unknowingly creating the one vehicle that guarentees their own destruction. It's the International Space Station (ISIS). And we, the people of earth, are living out the last forty years of life as we know it and nobody who's in charge seems to care.

Kealey Paper *Issue 17* January to May, 2000

What is the real message of FATIMA?

Fatima is a village in west central Portugal, northeast of Lisbon. It became the center of Roman Catholic pilgrimage after the reported sighting in the village, in 1917, of the Virgin Mary.

Fatima (606-32) is also the youngest daughter of the prophet Muhammad and wife of the fourth Caliph, Ali (d.661). The descendants of Muhammad trace their lineage through her, and she is revered especially by Shite Muslims as the mother of the imams Hasan (624-80). The name Muhammad, like the name Abraham, both include the letters that make up the word HAM, which is Freemasonry's short form for the word hammer.

A Fatimid, is a descendant of Fatima, in a particular, a member of an Arabian dynasty claiming descent from her which ruled most of the world with the exception of Europe, but including Portugal, under the name of the Caliphate of the Abbasides, from the 8th century to the 12th. Caliphate is the root of the word California, i.e.: Hollywood.

When the Jesuits first coded the new English language, before its introduction into Britain, they made certain that the word Ma would be used as often as possible. It derived from the Masonry's plan to convert two current genders, male and female, mothers and fathers, into one new gender as is outlined in the higher degrees of Freemasonry.

Ma was arrived at by taking the first letter of mother and grafting it unto the second letter of father. When the letter I is added in front of Ma it results in I ma, which is the root of the word imams. As well, when the letters of ma are reversed it results in the well known phrase I am, which are the two most identifying code words of western Freemasonry.

Also, the Muslim name Fatima creates a Muslim link to the Hebrew Father who is called Abba (see Abbasides above). As, well by having the word fat, when on researches it, one arrives at another very interesting topic, that of "cellular memory".

The name Fatima also has some other very interesting German connections which should not be overlooked. These include the use of yeast in beer which helps enlerge the stomach cavity in preperation for the day when space pioneering "pregnant" male "Hermaphrodites will be implanted with human seed . However, these other areas of study will require further research.

Kealey Paper *Issue 17* January to May, 2000

Father Time's German Rosicrucian and French Jesuitic

Masonry's War on Women

Today, German alchemical and French alphabetical creative sources control the actions of English speaking Freemasons around the world. German chemistry is symbolized by the first column of Freemasonry. It's called Jachim. The second column, or pillar, is called Boaz. It relates to the French Jesuits' role in creating the English alphabet - English speakers are taught letters from A to Z.

Germany (any germ) was chosen as the first European sit ti be assigned the task of establishing Freemasonry's chemical/pharmaceutical department. The Bauer family, currently known as the Rothschild, immigrated to Germany from their home in Turkey to lead this division in 1750. International finance is their visible activity. Finance is one cover that veils their true intent. The Bauer are the original founders of the pharmaceutical empire controlled by a transnational company called Bayer. Replacing the letter "U" with the letter "Y" in their original names alludes to "grafting", in both series of the word; Eugenics being their principal assignment.

France's role was to create Company of Jesus. From the cover of this Society they created the modern English language from which most of the Bible's allegories were fabricated. Francis Bacon's role cannot be underestimated during the construction of the King James 1 - Authorized Version of the English Bible. Neither can one dismiss the evidence of his particpation in the works of Will-I-am Shakespeare (Shakespere).

Neither should that of the Sufis, whose role as peddlers of hashish in the Middle East be overlooked, any more than should the Black Robes role in spreading both alcohol and disease to original peoples in America, or again, their participation in the Opium Wars on China.

The letters "chin" which are derived from the Freemason pillar called Jachim also create an interesting link to the two saint Johns. The German spelling of John is Joachim. These four letters are also the root of the name China as well as, of the industrial age technology founded on machines. Machines first appeared in Scotland, a country with very special ties to France and Germany, not to mention Freemasonry.

Anyone who pretends not understand, or disbelieves the preponderance of evidence which undoubtedly constitutes proof of what and who "created the mess we're now in" has been programmed beyond reason, or else, is ridiculously naive or an outright liar.

Kealey Papers *Issue 17* January to May,2000

Saturday, March 28, 2009


From Speaker for Animals

Ancient Power, Strength and Royalty,
Strength of the Feminine: The Child, the Woman,

and the Wise Woman (Matriarchal Head of Family).
The Importance of Family, Fertility, Sexual Power,
Discrimination, Clouds and Illusion,
Out of Control Masculine Rage

The symbolism of Elephant is ancient. In India, Elephant was the mount of Kings. Elephant was a devastating weapon of war and would throw the enemies of the Kings of India into confusion whenever the giant animals would rush into their ranks. In the West during the Roman Empire, the general Hannibul was made famous for attempting to bring the Carthagenian war elephants over the Alps to attack Rome from the city’s exposed flanks. He failed, of course. But in India and even in the West, Elephant came to symbolize the God of Warriors. Elephant is the totem of the greatest of warriors, denoting royalty, inner strength and nobility.

The myths involving Elephant have profoundly influenced humanity through history. Dreams filled with Elephant carry messages of transformation and spiritual power. Elephant in one’s dreams can signify the emergence of one’s Highest True Self. The Self, deep within the Collective Unconscious, only emerges when one has done one’s shadow work and integrated the contents of the Unconscious with Conscious Mind. This cannot be done by oneself, but is a sign of the Grace of the Divine and gift of Love of the As Above.

Like most mythic symbols, Elephant carries both positive and negative symbolic content.

Elephants live in separate social groups of females and male. Members of the female herds care and protect their young, act together for mutual protection from predators, and maintain loving relationships across the generations. The older, experienced females act as the Grandmothers of the Herd, using their experience and wisdom to assist the mothers and calves with the problems of life. Unlike much of human society, elephant herds demonstrate how close supportive relationships can be maintain between the generations by the feminine members of family.

Elephants depend heavily on their well-developed sense of smell to stay informed on their environments. The sense of smell symbolizes the ability to ‘discriminate’ between positive and negative environments. Elephant can bring the gift of discrimination, so that if you are contemplating some important decision, you will notice if “something does not smell right” about your options, and you will take more time to find more positive solutions.

Male elephants wander with other males during much of each year, seeking food. But during breeding season, they become aggressive and go individually in search of the female herds. Once the breeding seasons are ended, they leave the females and return to their bachelor herds. In rut, the males are dangerous and so the term “rogue elephant” has become part of even the Western vocabulary. In the dark, Elephant symbolizes the abusive, enraged, out of control male.

Linked with the planet Neptune, Elephant can also symbolize illusion or fantasy. In Greek mythology, the god Neptune was the god of the oceans. The Ocean, in dreams, symbolizes the Unconscious. But then imagination is a gift of the Unconscious as well, so Neptune/Elephant can bring gifts of creativity. However, the danger of the Unconscious is the possibility of becoming lost in illusion or fantasy. The dreamer can become lost in illusion in life or escape reality into fantasy, turning ones back on the challenges and learning opportunities in everyday life in exchange for the lure of imagination and fantasy. The dreamer therefore must learn to live in the Present, using his creativity to build dreams here, instead of wandering only in the realms of the fantastic within his mind. Fantasy can also bring riches of creativity. Children often fantasize about life as a way of experimenting with solutions to problems. Adults need imagination to find solutions to life’s challenges, but too much fantasizing can lead one to withdraw from life into isolation, leading to depression and loss of healthy relationships if not attended to. If we lose the ability to play and instead start to take life too seriously however, Elephant can teach the adult how to play with others again and thereby restore lightness and laughter to his life.

Salvador Dalí

Salvador Dalí
Photo by Carl Van Vechten taken
November 29, 1939.
Birth name Salvador Domingo Felipe Jacinto Dalí i Domènech
Born May 11, 1904(1904-05-11)
Figueres, Catalonia, Spain
Died January 23, 1989 (aged 84)
Figueres, Catalonia, Spain
Nationality Spanish
Field Painting, Drawing, Photography, Sculpture, Writing
Training San Fernando School of Fine Arts, Madrid
Movement Cubism, Dada, Surrealism
Works The Persistence of Memory (1931)
Face of Mae West Which May Be Used as an Apartment, (1935)
Soft Construction with Boiled Beans (Premonition of Civil War) (1936)
Swans Reflecting Elephants (1937)
Ballerina in a Death's Head (1939)
The Temptation of St. Anthony (1946)
Galatea of the Spheres (1952)
Young Virgin Auto-Sodomized by the Horns of Her Own Chastity (1954)

...just because I don't know the meaning of my art, does not mean it has no meaning...

Salvador Dalì

Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st Marquis of Púbol (May 11, 1904 – January 23, 1989) was a Spanish Catalan surrealist painter born in Figueres.

Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters.[1][2] His best-known work, The Persistence of Memory, was completed in 1931. Dalí's expansive artistic repertoire includes film, sculpture, and photography, in collaboration with a range of artists in a variety of media.

Dalí attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes"[3] to a self-styled "Arab lineage," claiming that his ancestors were descended from the Moors.

Dalí was highly imaginative, and also had an affinity for partaking in unusual and grandiose behavior, in order to draw attention to himself. This sometimes irked those who loved his art as much as it annoyed his critics, since his eccentric manner sometimes drew more public attention than his artwork.[4]


Early life

Salvador Domingo Felipe Jacinto Dalí i Domènech, was born on May 11, 1904, at 8:45 a.m. GMT[5] in the town of Figueres, in the Empordà region, close to the French border in Catalonia, Spain.[6] Dalí's older brother, also named Salvador (b. October 12, 1901), had died of gastroenteritis nine months earlier, on August 1, 1903. His father, Salvador Dalí i Cusí, was a middle-class lawyer and notary[7] whose strict disciplinary approach was tempered by his wife, Felipa Domenech Ferrés, who encouraged her son's artistic endeavors.[8] When he was five, Dalí was taken to his brother's grave and told by his parents that he was his brother's reincarnation,[9]a concept which he came to believe.[10] Of his brother, Dalí said, "…[we] resembled each other like two drops of water, but we had different reflections."[11] He "was probably a first version of myself but conceived too much in the absolute."[11]

Dalí also had a sister, Ana María, who was three years younger than he.[7] In 1949 she published a book about her brother, Dalí As Seen By His Sister.[12] His childhood friends included future FC Barcelona footballers Sagibarbá and Josep Samitier. During holidays at the Catalan resort of Cadaqués, the trio played football together.

Dalí attended drawing school. In 1916, Dalí also discovered modern painting on a summer vacation to Cadaqués with the family of Ramon Pichot, a local artist who made regular trips to Paris.[7] The next year, Dalí's father organized an exhibition of his charcoal drawings in their family home. He had his first public exhibition at the Municipal Theater in Figueres in 1919.

In February 1921, Dalí's mother died of breast cancer. Dalí was sixteen years old; he later said his mother's death "was the greatest blow I had experienced in my life. I worshipped her… I could not resign myself to the loss of a being on whom I counted to make invisible the unavoidable blemishes of my soul."[13] After her death, Dalí's father married his deceased wife's sister. Dalí did not resent this marriage, because he had a great love and respect for his aunt.[7]

Madrid and Paris

Wild-eyed antics of Dalí (left) and fellow surrealist artist Man Ray in Paris on June 16, 1934, photographed by Carl Van Vechten.

In 1922, Dalí moved into the Residencia de Estudiantes (Students' Residence) in Madrid[7] and studied at the Academia de San Fernando (School of Fine Arts). A lean 1.72 m (5 ft. 7¾ in.) tall, [14] Dalí already drew attention as an eccentric and dandy. He wore long hair and sideburns, coat, stockings, and knee breeches in the style of English aesthetes of the late 19th century. However, it was his paintings, in which he experimented with Cubism, that earned him the most attention from his fellow students. At the time of these early works, Dali probably did not completely understand the Cubist movement. His only information on Cubist art came from magazine articles and a catalog given to him by Pichot, since there were no Cubist artists in Madrid at the time.

In 1924, the still-unknown Salvador Dalí illustrated a book for the first time. It was a publication of the Catalan poem "Les bruixes de Llers" ("The Witches of Llers") by his friend and schoolmate, poet Carles Fages de Climent.

Dalí also experimented with Dada, which influenced his work throughout his life. At the Residencia, he became close friends with (among others) Pepín Bello, Luis Buñuel, and poet Federico García Lorca. The friendship with Lorca had a strong element of mutual passion,[15] but Dalí fearfully rejected the erotic advances of the poet.[16]

Dalí was expelled from the Academia in 1926, shortly before his final exams, when he stated that no one on the faculty was competent enough to examine him.[17] His mastery of painting skills was evidenced by his flawlessly realistic Basket of Bread, painted in 1926.[18] That same year, he made his first visit to Paris, where he met with Pablo Picasso, whom the young Dalí revered. Picasso had already heard favorable reports about Dalí from Joan Miró. As he developed his own style over the next few years, Dalí made a number of works heavily influenced by Picasso and Miró.

Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s. Dalí devoured influences from many styles of art, ranging from the most academically classic to the most cutting-edge avant garde[19] His classical influences included Raphael, Bronzino, Francisco de Zurbaran, Vermeer, and Velázquez. [20]He used both classical and modernist techniques, sometimes in separate works, and sometimes combined. Exhibitions of his works in Barcelona attracted much attention along with mixtures of praise and puzzled debate from critics.

Dalí grew a flamboyant moustache, influenced by seventeenth-century Spanish master painter Diego Velázquez. The moustache became an iconic trademark of his appearance for the rest of his life.

1929 through World War II

In 1929, Dalí collaborated with surrealist film director Luis Buñuel on the short film Un chien andalou (An Andalusian Dog). His main contribution was to help Buñuel write the script for the film. Dalí later claimed to have also played a significant role in the filming of the project, but this is not substantiated by contemporary accounts.[21] Also, in August 1929, Dalí met his muse, inspiration, and future wife Gala,[22] born Elena Ivanovna Diakonova. She was a Russian immigrant eleven years his senior, who at that time was married to surrealist poet Paul Éluard. In the same year, Dalí had important professional exhibitions and officially joined the Surrealist group in the Montparnasse quarter of Paris. His work had already been heavily influenced by surrealism for two years. The Surrealists hailed what Dalí called the Paranoiac-critical method of accessing the subconscious for greater artistic creativity.[7][8]

Meanwhile, Dalí's relationship with his father was close to rupture. Don Salvador Dalí y Cusi strongly disapproved of his son's romance with Gala, and saw his connection to the Surrealists as a bad influence on his morals. The last straw was when Don Salvador read in a Barcelona newspaper that his son had recently exhibited in Paris a drawing of the "Sacred Heart of Jesus Christ", with a provocative inscription, "Sometimes, I spit for fun on my mother's portrait."

Outraged, Don Salvador demanded that his son recant publicly. Dalí refused, perhaps out of fear of expulsion from the Surrealist group, and was violently thrown out of his paternal home on December 28, 1929. His father told him that he would disinherit him, and that he should never set foot in Cadaquès again. Dalí later claimed that, in response, he handed his father a condom containing his own sperm, saying, "Take that. I owe you nothing anymore!" The following summer, Dalí and Gala would rent a small fisherman's cabin in a nearby bay at Port Lligat. He bought the place, and over the years enlarged it, gradually building his much beloved villa by the sea.

In 1931, Dalí painted one of his most famous works, The Persistence of Memory.[23] which introduced a surrealistic image of soft,melting pocket watches. The general interpretation of the work is that the soft watches are a rejection of the assumption that time is rigid or deterministic. This idea is supported by other images in the work, such as the wide expanding landscape, and the other limp watches, shown being devoured by insects.[24]

Dalí and Gala, having lived together since 1929, were married in 1934 in a civil ceremony. They later remarried in a Catholic ceremony in 1958.

Dalí was introduced to America by art dealer Julian Levy in 1934. The exhibition in New York of Dalí's works, including Persistence of Memory, created an immediate sensation. Social Register listees feted him at a specially organized "Dalí Ball."

He showed up wearing a glass case on his chest, which contained a brassiere.[25] In that year, Dalí and Gala also attended a masquerade party in New York, hosted for them by heiress Caresse Crosby. For their costumes, they dressed as the Lindbergh baby and his kidnapper. The resulting uproar in the press was so great that Dalí apologized. When he returned to Paris, the Surrealists confronted him about his apology for a surrealist act.[26].

While the majority of the Surrealist artists had become increasingly associated with leftist politics, Dalí maintained an ambiguous position on the subject of the proper relationship between politics and art. Leading surrealist André Breton accused Dalí of defending the "new" and "irrational" in "the Hitler phenomenon," but Dalí quickly rejected this claim, saying, "I am Hitlerian neither in fact nor intention."[27]Dalí insisted that surrealism could exist in an apolitical context and refused to explicitly denounce fascism. Among other factors, this had landed him in trouble with his colleagues. Later in 1934, Dalí was subjected to a "trial", in which he was formally expelled from the Surrealist group.[22] To this, Dalí retorted, "I myself am surrealism."[17]

In 1936, Dalí took part in the London International Surrealist Exhibition. His lecture, entitled Fantomes paranoiaques authentiques, was delivered while wearing a deep-sea diving suit and helmet.[28] He had arrived carrying a billiard cue and leading a pair of Russian wolfhounds, and had to have the helmet unscrewed as he gasped for breath. He commented that "I just wanted to show that I was 'plunging deeply' into the human mind."[29]

At this stage, Dalí's main patron was the very wealthy Edward James. He had helped Dalí emerge into the art world by purchasing many works and by supporting him financially for two years. They became good friends, and James is featured in Dalí's painting Swans Reflecting Elephants. They also collaborated on two of the most enduring icons of the Surrealist movement: the Lobster Telephone and the Mae West Lips Sofa.

In 1939, Breton coined the derogatory nickname "Avida Dollars", an anagram for Salvador Dalí which may be translated as "eager for dollars"[30]. This was a derisive reference to the increasing commercialization of Dalí's work, and the perception that Dali sought self-aggrandizement through fame and fortune. Some surrealists henceforth spoke of Dalí in the past tense, as if he were dead. The Surrealist movement and various members thereof (such as Ted Joans) would continue to issue extremely harsh polemics against Dalí until the time of his death and beyond.

In 1940, as World War II started in Europe, Dalí and Gala moved to the United States, where they lived for eight years. After the move, Dalí returned to the practice of Catholicism. "During this period, Dalí never stopped writing," wrote Robert and Nicolas Descharnes.[31]

In 1941, Dalí drafted a film scenario for Jean Gabin called Moontide. In 1942, he published his autobiography, The Secret Life of Salvador Dalí. He wrote catalogs for his exhibitions, such as that at the Knoedler Gallery in New York in 1943. Therein he expounded, "Surrealism will at least have served to give experimental proof that total sterility and attempts at automatizations have gone too far and have led to a totalitarian system. ... Today's laziness and the total lack of technique have reached their paroxysm in the psychological signification of the current use of the college." He also wrote a novel, published in 1944, about a fashion salon for automobiles. This resulted in a drawing by Edwin Cox in The Miami Herald, depicting Dalí dressing an automobile in an evening gown.[31]

An Italian friar, Gabriele Maria Berardi, claimed to have performed an exorcism on Dalí while he was in France in 1947.[32] In 2005, a sculpture of Christ on the Cross was discovered in the friar's estate. It had been claimed that Dalí gave this work to his exorcist out of gratitude,[32] and two Spanish art experts confirmed that there were adequate stylistic reasons to believe the sculpture was made by Dalí.[32]

Later years in Catalonia

Starting in 1949, Dalí spent his remaining years back in his beloved Catalonia. The fact that he chose to live in Spain while it was ruled by Franco drew criticism from progressives and from many other artists.[33] As such, it is probable that the common dismissal of Dalí's later works by some Surrealists and art critics was related partially to politics rather than to the artistic merit of the works themselves. In 1959, André Breton organized an exhibit called Homage to Surrealism, celebrating the fortieth anniversary of Surrealism, which contained works by Dalí, Joan Miró, Enrique Tábara, and Eugenio Granell. Breton vehemently fought against the inclusion of Dalí's Sistine Madonna in the International Surrealism Exhibition in New York the following year.[34]

Late in his career, Dalí did not confine himself to painting, but experimented with many unusual or novel media and processes: he made bulletist works[35] and was among the first artists to employ holography in an artistic manner.[36] Several of his works incorporate optical illusions. In his later years, young artists such as Andy Warhol proclaimed Dalí an important influence on pop art.[37] Dalí also had a keen interest in natural science and mathematics. This is manifested in several of his paintings, notably in the 1950s, in which he painted his subjects as composed of rhinoceros horns. According to Dalí, the rhinoceros horn signifies divine geometry because it grows in a logarithmic spiral. He also linked the rhinoceros to themes of chastity and to the Virgin Mary.[38] Dalí was also fascinated by DNA and the hypercube (a 4-dimensional cube); an unfolding of a hypercube is featured in the painting Crucifixion (Corpus Hypercubus).

Dalí's post-World War II period bore the hallmarks of technical virtuosity and an interest in optical illusions, science, and religion. He became an increasingly devout Catholic, while at the same time he had been inspired by the shock of Hiroshima and the dawning of the "atomic age". Therefore Dalí labeled this period "Nuclear Mysticism." In paintings such as "The Madonna of Port-Lligat" (first version) (1949) and "Corpus Hypercubus" (1954), Dalí sought to synthesize Christian iconography with images of material disintegration inspired by nuclear physics.[39] "Nuclear Mysticism" included such notable pieces as "La Gare de Perpignan" (1965) and "Hallucinogenic Toreador" (1968–70). In 1960, Dalí began work on the Dalí Theatre and Museum in his home town of Figueres; it was his largest single project and the main focus of his energy through 1974. He continued to make additions through the mid-1980s.

In 1968, Dalí filmed a television advertisement for Lanvin chocolates,[40] and in 1969, he designed the Chupa Chups logo. Also in 1969, he was responsible for creating the advertising aspect of the 1969 Eurovision Song Contest and created a large metal sculpture that stood on the stage at the Teatro Real in Madrid.

In the television programme Dirty Dalì: A Private View broadcast on Channel 4 on June 3, 2007, art critic Brian Sewell described his acquaintance with Dalí in the late 1960s, which included lying down in the fetal position without trousers in the armpit of a figure of Christ and masturbating for Dalí, who pretended to take photos while fumbling in his own trousers.[41][42]

In 1980, Dalí's health took a catastrophic turn. His near-senile wife, Gala, allegedly had been dosing him with a dangerous cocktail of unprescribed medicine that damaged his nervous system, thus causing an untimely end to his artistic capacity. At 76 years old, Dalí was a wreck, and his right hand trembled terribly, with Parkinson-like symptoms.[43]

In 1982, King Juan Carlos of Spain bestowed on Dalí the title Marquis of Púbol, for which Dalí later repaid him by giving him a drawing (Head of Europa, which would turn out to be Dalí's final drawing) after the king visited him on his deathbed.

Sant Pere in Figueres, scene of Dalí's Baptism, First Communion, and funeral
Dalí Theatre and Museum in Figueres, home of his crypt.

Gala died on June 10, 1982. After Gala's death, Dalí lost much of his will to live. He deliberately dehydrated himself, possibly as a suicide attempt, or possibly in an attempt to put himself into a state of suspended animation as he had read that some microorganisms could do. He moved from Figueres to the castle in Púbol, which he had bought for Gala and was the site of her death. In 1984, a fire broke out in his bedroom[44] under unclear circumstances. It was possibly a suicide attempt by Dalí, or possibly simple negligence by his staff.[17] In any case, Dalí was rescued and returned to Figueres, where a group of his friends, patrons, and fellow artists saw to it that he was comfortable living in his Theater-Museum in his final years.

There have been allegations that Dalí was forced by his guardians to sign blank canvases that would later, even after his death, be used in forgeries and sold as originals.[45] As a result, art dealers tend to be wary of late works attributed to Dalí.

In November 1988, Dalí entered the hospital with heart failure, and on December 5, 1988 was visited by King Juan Carlos, who confessed that he had always been a serious devotee of Dalí.[46]

On January 23, 1989, while his favorite record of Tristan and Isolde played, he died of heart failure at Figueres at the age of 84, and, coming full circle, is buried in the crypt of his Teatro Museo in Figueres. The location is across the street from the church of Sant Pere, where he had his baptism, first communion, and funeral, and is three blocks from the house where he was born.[47]

The Gala-Salvador Dalí Foundation currently serves as his official estate.[48] The U.S. copyright representative for the Gala-Salvador Dalí Foundation is the Artists Rights Society.[49] In 2002, the Society made the news when they asked Google to remove a customized version of its logo put up to commemorate Dalí, alleging that portions of specific artworks under their protection had been used without permission. Google complied with the request, but denied that there was any violation of copyright.


Dalí employed extensive symbolism in his work. For instance, the hallmark "soft watches" that first appear in The Persistence of Memory suggest Einstein's theory that time is relative and not fixed.[24] The idea for clocks functioning symbolically in this way came to Dalí when he was staring at a runny piece of Camembert cheese on a hot day in August.[50]

The elephant is also a recurring image in Dalí's works. It first appeared in his 1944 work Dream Caused by the Flight of a Bee around a Pomegranate a Second Before Awakening. The elephants, inspired by Gian Lorenzo Bernini's sculpture base in Rome of an elephant carrying an ancient obelisk,[51] are portrayed "with long, multijointed, almost invisible legs of desire"[52] along with obelisks on their backs. Coupled with the image of their brittle legs, these encumbrances, noted for their phallic overtones, create a sense of phantom reality. "The elephant is a distortion in space," one analysis explains, "its spindly legs contrasting the idea of weightlessness with structure."[52] "I am painting pictures which make me die for joy, I am creating with an absolute naturalness, without the slightest aesthetic concern, I am making things that inspire me with a profound emotion and I am trying to paint them honestly." —Salvador Dalí, in Dawn Ades, Dalí and Surrealism.

The egg is another common Dalíesque image. He connects the egg to the prenatal and intrauterine, thus using it to symbolize hope and love;[53] it appears in The Great Masturbator and The Metamorphosis of Narcissus. Various animals appear throughout his work as well: ants point to death, decay, and immense sexual desire; the snail is connected to the human head (he saw a snail on a bicycle outside Freud's house when he first met Sigmund Freud); and locusts are a symbol of waste and fear.[53]

Endeavors outside painting

The Dali Atomicus, photo by Philippe Halsman (1948), shown before its supporting wires were removed.

Dalí was a versatile artist, not limiting himself only to painting in his artistic endeavors. Some of his more popular artistic works are sculptures and other objects, and he is also noted for his contributions to theatre, fashion, and photography, among other areas.

Two of the most popular objects of the surrealist movement were Lobster Telephone and Mae West Lips Sofa, completed by Dalí in 1936 and 1937, respectively. Surrealist artist and patron Edward James commissioned both of these pieces from Dalí; James inherited a large English estate in West Dean, West Sussex when he was five and was one of the foremost supporters of the surrealists in the 1930s.[54] "Lobsters and telephones had strong sexual connotations for [Dalí]," according to the display caption for the Lobster Telephone at the Tate Gallery, "and he drew a close analogy between food and sex."[55] The telephone was functional, and James purchased four of them from Dalí to replace the phones in his retreat home. One now appears at the Tate Gallery; the second can be found at the German Telephone Museum in Frankfurt; the third belongs to the Edward James Foundation; and the fourth is at the National Gallery of Australia.[54]

The wood and satin Mae West Lips Sofa was shaped after the lips of actress Mae West, whom Dalí apparently found fascinating.[22] West was previously the subject of Dalí's 1935 painting The Face of Mae West. Mae West Lips Sofa currently resides at the Brighton and Hove Museum in England.

During the years between 1941 and 1970, Dalí was also responsible for creating a striking ensemble of jewels, 39 in total. The jewels created are intricate, and some contain actual moving parts. The most famous jewel created by Dalí, "The Royal Heart," is crafted using gold and is encrusted with 46 rubies, 42 diamonds, and four emeralds and is created in such a way that the center "beats" much like a real heart. Dalí himself commented that "Without an audience, without the presence of spectators, these jewels would not fulfill the function for which they came into being. The viewer, then, is the ultimate artist." (Dalí, 1959.) The "Dalí — Joies" ("The Jewels of Dalí") collection can be seen at the Dalí Theater Museum in Figueres, Catalonia, Spain, where it is on permanent exhibition.

In theatre, Dalí is remembered for constructing the scenery for García Lorca's 1927 romantic play Mariana Pineda.[56] For Bacchanale (1939), a ballet based on and set to the music of Richard Wagner's 1845 opera Tannhäuser, Dalí provided both the set design and the libretto.[57] Bacchanale was followed by set designs for Labyrinth in 1941 and The Three-Cornered Hat in 1949.[58]

Although most known for his paintings, Dalí became intensely interested in film when he was young, going to the theatre to see different shows almost every Sunday. He was part of the era where silent films were being viewed and drawing on the medium of film became popular. He believed there were two dimensions to the theories of film and cinema: "things themselves"—the facts that are presented in the world of the camera, and "photographic imagination"—the way the camera shows the picture and how creative or imaginative it looks.[59] Dalí was active in front of and behind the scenes in the film world. He created wonderful pieces of artwork such as Destino, on which he collaborated with Walt Disney. He is also credited as cocreator of Luis Buñuel's surrealist film Un Chien Andalou, a 17-minute French art film cowritten with Luis Buñuel that is widely remembered for its graphic opening scene simulating the slashing of a human eyeball with a razor. This film is what Dalí is known for in the independent film world. Un Chien Andalou was Dalí's way of creating his dreamlike qualities in the real world. Images would change and scenes would switch, leading the viewer in a completely different direction from the one they were previously viewing. The second film he produced with Buñuel was entitled L’age d’or, and it was performed at Studio 28 in Paris in 1930. L’age d’or was "banned for years after fascist and anti-Semitic groups staged a stink bomb and ink-throwing riot in the Paris theater where it was shown."[60] Although negative aspects of society were being thrown into the life of Dalí and obviously affecting the success of his artwork, it did not hold him back from expressing his own ideas and beliefs in his art. Both of these films, Un Chien Andalou and L’age d’or, have had a tremendous impact on the independent surrealist film movement. "If Un Chien Andalou stands as the supreme record of Surrealism's adventures into the realm of the unconscious, then L'Âge d'or is perhaps the most trenchant and implacable expression of its revolutionary intent."[61]

Dalí also worked with other famous filmmakers such as Alfred Hitchcock. The most well-known of his film projects is probably the dream sequence in Alfred Hitchcock's Spellbound, which heavily delves into themes of psychoanalysis. Hitchcock needed a dreamlike quality to his movie, which dealt with the idea that a repressed experience can directly trigger a neurosis, and he knew that Dalí's work would help create the atmosphere he wanted in his film. He also worked on a documentary called Chaos and Creation, which has a lot of artistic references thrown into it to help one see what Dalí's vision of art really is. He also worked on Disney cartoon production Destino. Completed in 2003 by Baker Bloodworth and Roy Disney, it contains dreamlike images of strange figures flying and walking about. It is based on Mexican songwriter Armando Dominguez' song entitled "Destino." When Disney hired Dalí to help produce Destino in 1946, they were not prepared for the work they had ahead of themselves. For eight months, they continuously animated until their efforts had to come to a stop when they realized they were in financial trouble. They had no more money to finish the production of the animated movie; however, it was eventually finished and shown in various film festivals. The movie consists of Dalí's artwork interacting with Disney's classic princesslike character animation. Dalí completed only one other film in his lifetime, Impressions of Upper Mongolia (1975), in which he narrated a story about an expedition in search of giant hallucinogenic mushrooms. The imagery was based on microscopic uric acid stains on the brass band of a ballpoint pen on which Dalí had been urinating for several weeks.[62]

Dalí built a repertoire in the fashion and photography industries as well. In fashion, his cooperation with Italian fashion designer Elsa Schiaparelli is well-known, where Dalí was hired by Schiaparelli to produce a white dress with a lobster print. Other designs Dalí made for her include a shoe-shaped hat and a pink belt with lips for a buckle. He was also involved in creating textile designs and perfume bottles. With Christian Dior in 1950, Dalí created a special "costume for the year 2045."[57] Photographers with whom he collaborated include Man Ray, Brassaï, Cecil Beaton, and Philippe Halsman.

With Man Ray and Brassaï, Dalí photographed nature; with the others, he explored a range of obscure topics, including (with Halsman) the Dalí Atomica series (1948)—inspired by his painting Leda Atomica—which in one photograph depicts "a painter's easel, three cats, a bucket of water, and Dalí himself floating in the air."[57]

References to Dalí in the context of science are made in terms of his fascination with the paradigm shift that accompanied the birth of quantum mechanics in the twentieth century. Inspired by Werner Heisenberg's Uncertainty Principle, in 1958 he wrote in his "Anti-Matter Manifesto": "In the Surrealist period, I wanted to create the iconography of the interior world and the world of the marvelous, of my father Freud. Today, the exterior world and that of physics has transcended the one of psychology. My father today is Dr. Heisenberg."[63]

In this respect, The Disintegration of the Persistence of Memory, which appeared in 1954, in hearkening back to The Persistence of Memory, and in portraying that painting in fragmentation and disintegration summarizes Dalí's acknowledgment of the new science.[63]

Architectural achievements include his Port Lligat house near Cadaqués as well as the Dream of Venus surrealist pavilion at the 1939 World's Fair, which contained within it a number of unusual sculptures and statues. His literary works include The Secret Life of Salvador Dalí (1942), Diary of a Genius (1952–63), and Oui: The Paranoid-Critical Revolution (1927–33). The artist worked extensively in the graphic arts, producing many etchings and lithographs. While his early work in printmaking is equal in quality to his important paintings as he grew older, he would sell the rights to images but not be involved in the print production itself. In addition, a large number of unauthorized fakes were produced in the eighties and nineties, thus further confusing the Dalí print market.

One of Dalí's most unorthodox artistic creations may have been an entire person. At a French nightclub in 1965, Dalí met Amanda Lear, a fashion model then known as Peki D'Oslo.[64] Lear became his protégé and muse,[64] writing about their affair in the authorized biography My Life With Dalí (1986).[65] Transfixed by the mannish, larger-than-life Lear, Dalí masterminded her successful transition from modeling to the music world, advising her on self-presentation and helping spin mysterious stories about her origin as she took the disco-art scene by storm. According to Lear, she and Dalí were united in a "spiritual marriage" on a deserted mountaintop.[64] Referred to as Dalí's "Frankenstein,"[66] some believe Lear's name is a pun on the French "L'Amant Dalí," or Lover of Dalí. Lear took the place of an earlier muse, Ultra Violet (Isabelle Collin Dufresne), who had left Dalí's side to join The Factory of Andy Warhol.[67]

Politics and personality

Dalí in the 1960s wearing the flamboyant mustache style he popularized.

Salvador Dalí's politics played a significant role in his emergence as an artist. He has sometimes been portrayed as a supporter of the authoritarian Franco.[33][68] André Breton, leader of the Surrealist movement, made a strong effort to dissociate his name from Surrealists proper. The reality is probably somewhat more complex. In any event, he was not an anti-Semite, as he was a friendly acquaintance of famed architect and designer Paul László, who was Jewish. He also professed great admiration for Freud (whom he met) and Einstein, both Jewish, as can be verified throughout his writings. On Dalí's personality, George Orwell wrote in an essay that "One ought to be able to hold in one's head simultaneously the two facts that Dalí is a good draughtsman and a disgusting human being. The one does not invalidate or, in a sense, affect the other."[69]

In his youth, Dalí embraced for a time both anarchism and communism. His writings account various anecdotes of making radical political statements more to shock listeners than from any deep conviction, which was in keeping with Dalí's allegiance to the Dada movement. As he grew older his political allegiances changed, especially as the Surrealist movement went through transformations under the leadership of Trotskyist André Breton, who is said to have called Dalí in for questioning on his politics. In his 1970 book Dalí by Dalí, Dalí was declaring himself an anarchist and monarchist, giving rise to speculations of Anarcho-Monarchism.

With the outbreak of the Spanish Civil War, Dalí fled from fighting and refused to align himself with any group. Likewise, after World War II, George Orwell criticized Dalí for "scuttling off like rat as soon as France is in danger" after Dalí prospered there for years:"When the European War approaches he has one preoccupation only: how to find a place which has good cookery and from which he can make a quick bolt if danger comes too near." After his return to Catalonia after World War II, Dalí became closer to the Franco regime. Some of Dalí's statements supported the Franco regime, congratulating Franco for his actions aimed "at clearing Spain of destructive forces."[70] Dalí, having returned to the Catholic faith and becoming increasingly religious as time went on, may have been referring to the Communists, Socialists, and anarchists who had killed almost 7,000 priests and nuns during the Spanish Civil War.[71][72] Dalí sent telegrams to Franco, praising him for signing death warrants for prisoners.[33] Dalí even met Franco personally[73] and painted a portrait of Franco's granddaughter. It is impossible to determine whether his tributes to Franco were sincere or whimsical; he also once sent a telegram praising the Conducător, Romanian Communist leader Nicolae Ceauşescu, for his adoption of a scepter as part of his regalia. The Romanian daily newspaper Scînteia published it, without suspecting its mocking aspect. One of Dalí's few possible bits of open disobedience was his continued praise of Federico García Lorca even in the years when Lorca's works were banned.[16]

Dalí, a colorful and imposing presence in his ever-present long cape, walking stick, haughty expression, and upturned waxed mustache, was famous for having said that "every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí."[74] The entertainer Cher and her husband Sonny Bono, when young, came to a party at Dalí's expensive residence in New York's Plaza Hotel and were startled when Cher sat down on an oddly shaped sexual vibrator left in an easy chair. When signing autographs for fans, Dalí would always keep their pens. When interviewed by Mike Wallace on his 60 Minutes television show, Dalí kept referring to himself in the third person, and told the startled Mr. Wallace matter-of-factly that "Dalí is immortal and will not die." During another television appearance, on the Tonight Show, Dalí carried with him a leather rhinoceros and refused to sit upon anything else.

Listing of selected works

The Philadelphia Museum of Art used a surreal entrance display including its steps, for the 2005 Salvador Dalí exhibition

Dalí produced over 1,500 paintings in his career[75] in addition to producing illustrations for books, lithographs, designs for theatre sets and costumes, a great number of drawings, dozens of sculptures, and various other projects, including an animated cartoon for Disney. He also collaborated with director Jack Bond in 1965, creating a movie titled Dali in New York. Below is a chronological sample of important and representative work, as well as some notes on what Dalí did in particular years.[2]

In Carlos Lozano's biography, Sex, Surrealism, Dalí, and Me, produced with the collaboration of Clifford Thurlow, Lozano makes it clear that Dalí never stopped being a surrealist. As Dalí said of himself: "the only difference between me and the surrealists is that I am a surrealist."[30]

The largest collections of Dalí's work are at the Dalí Theatre and Museum in Figueres, Catalonia, Spain, followed by the Salvador Dalí Museum in St. Petersburg, Florida, which contains the collection of A. Reynolds Morse & Eleanor R. Morse. It holds over 1,500 works from Dalí. Other particularly significant collections include the Reina Sofia Museum in Madrid and the Salvador Dalí Gallery in Pacific Palisades, California. Espace Dalí in Montmartre, Paris, France, as well as the Dalí Universe in London, England, contain a large collection of his drawings and sculptures.

The unlikeliest venue for Dalí's work was the Rikers Island jail in New York City; a sketch of the Crucifixion he donated to the jail hung in the inmate dining room for 16 years before it was moved to the prison lobby for safekeeping. The drawing was stolen in March 2003 and has not been recovered.[76]


Under the encouragement of poet Garcia Lorca, Dalì attempted an approach to a literary career through the means of the "pure novel." In his only literary production, Dalí describes, in vividly visual terms, the intrigues and love affairs of a group of dazzling, eccentric aristocrats who, with their luxurious and extravagant lifestyle, symbolize the decadence of the 1930s.