Christ of St John of the Crossã¢â⢠Scottish Art Includes
| Christ of Saint John of the Cross | |
|---|---|
 | |
| Artist | Salvador Dalí |
| Twelvemonth | 1951 |
| Medium | Oil on sail |
| Dimensions | 205 cm × 116 cm (80.seven in × 45.67 in) |
| Location | Kelvingrove Art Gallery and Museum, Glasgow |
Christ of Saint John of the Cross is a painting by Salvador Dalí made in 1951 which is in the collection of the Kelvingrove Art Gallery and Museum, Glasgow. It depicts Jesus Christ on the cantankerous in a darkened heaven floating over a torso of water complete with a boat and fishermen. Although it is a depiction of the crucifixion, information technology is devoid of nails, blood, and a crown of thorns, because, according to Dalí, he was convinced by a dream that these features would mar his depiction of Christ. Also in a dream, the importance of depicting Christ in the farthermost angle evident in the painting was revealed to him.
Championship [edit]
The painting is known as the Christ of Saint John of the Cross, because its blueprint is based on a drawing by the 16th-century Spanish friar John of the Cross.[1] The composition of Christ is as well based on a triangle and circumvolve (the triangle is formed past Christ's arms; the circle is formed past Christ'southward head). The triangle, since information technology has three sides, tin can be seen as a reference to the Trinity, and the circle may be an allusion to Platonic thought. The circle represents Unity: all things do be in the "three" but in the four, merry they exist.[2]
Inspiration [edit]
On the bottom of his studies for the painting, Dalí explained its inspiration: "In the first place, in 1950, I had a 'cosmic dream' in which I saw this epitome in colour and which in my dream represented the 'nucleus of the cantlet.' This nucleus later took on a metaphysical sense; I considered it 'the very unity of the universe,' the Christ!"[iii]
In guild to create the figure of Christ, Dalí had Hollywood stuntman Russell Saunders suspended from an overhead gantry, so he could see how the body would announced from the desired bending [4] and likewise envisage the pull of gravity on the human trunk. The depicted trunk of h2o is the bay of Port Lligat, Dalí's residence at the fourth dimension of the painting.[5]
History [edit]
The painting and intellectual property rights were acquired for Glasgow Corporation in 1952 by Tom Honeyman, and so the Director of Glasgow Museums. Honeyman bought the painting for £8,200, a price considered high at the fourth dimension although it was less than the £12,000 catalogue price, and included the copyright, which has earned Glasgow Museums dorsum the original price many times over.[6]
The buy was controversial and a petition against it, arguing that the money should be spent on exhibition infinite for local artists, was presented to the Corporation by students at Glasgow School of Art.[seven] The controversy caused Honeyman and Dalí to go friends, respective with each other for many years afterwards the original conquering.[iv]
The painting first went on display at the city's Kelvingrove Art Gallery and Museum on 23 June 1952. In 1961 a visitor attacked the painting with a stone and tore the canvas with his hands.[8] It was successfully restored over several months by conservators at Kelvingrove and returned to public display.[9] In 1993, the painting was moved to the metropolis's St Mungo Museum of Religious Life and Art, but returned to Kelvingrove for its reopening in July 2006. It won a poll to decide Scotland'due south favourite painting in 2006, with 29% of the vote.[10]
Critical reception [edit]
This painting has connected to generate controversy. At the fourth dimension of its purchase by Honeyman, the verdict by modern art critics was that producing such a traditional painting was a stunt by an artist already famous for his surrealist art.[6] In 2009 The Guardian art critic, Jonathan Jones, described it every bit "kitsch and pulp", but noted that the painting was "for ameliorate or worse, probably the nearly enduring vision of the crucifixion painted in the 20th century."[eleven]
In May 2013, in BBC Radio 4'due south Neat Lives, British poet John Cooper Clarke described this paradigm as being utterly different from any other image of the crucifixion, as the bending of view conveys the hanging pain of this method of execution, whilst hiding the ordinarily clichéd facial expressions ordinarily seen in such depictions.[12]
References [edit]
- ^ Cevasco, George (Winter 1956). "Dali's Christianized Surrealism". Studies: An Irish Quarterly Review. 45 (180): 441.
- ^ Gaultier, Alyse. The Little Book of Dalí. Paris: Flammarion, 2004.
- ^ Descharnes, Robert. Dalí. New York: Harry N. Abrams, Inc., 2003.
- ^ a b Davies, Gill Davies (23 June 2011). "Scotland'southward favourite painting: Dali's Christ of St John of the Cross". BBC Scotland.
- ^ Meisler, Stanley (April 2005). "The Surreal World of Salvador Dalí". Smithsonian.com. Smithsonian Magazine. Retrieved 12 July 2014.
- ^ a b "Salvador Dali's 'Christ of St John of the Cantankerous' Scotland's Favorite". Art Noesis News. Archived from the original on two April 2015. Retrieved 21 April 2015.
- ^ "Controversy". Glasgow Museums. Archived from the original on xx November 2012. Retrieved 6 Apr 2012.
- ^ "Dali painting to be shown in New York. "Special Insurance" by Exhibitor". The Glasgow Herald. 22 September 1965. p. 5. Retrieved 11 October 2016.
- ^ Polly Smith, Senior Conservator (eight July 2011). How to Restore a Salvador Dali Masterpiece. Glasgow Museums. Archived from the original on xiv December 2021. Retrieved six Apr 2012.
- ^ "Salvador Dali's 'Christ of St John of the Cross' Wins Herald Poll", GlasgowMuseums.com, 30 Baronial 2005.
- ^ Jones, Jonathan (27 Jan 2009). "Kitsch and pulp merely likewise a glimpse of a strange soul". The Guardian.
- ^ "BBC Radio 4 - Great Lives, Series 30, Salvador Dali". Great Lives. BBC. Retrieved 18 February 2015.
Source: https://en.wikipedia.org/wiki/Christ_of_Saint_John_of_the_Cross
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