Magical illusionistic "eye-candy" has a greater potential for serious, multileveled content in my opinion than the so called attempts to embellish a void of non-objectivity with literary discourse. Is there integrity in flatness? This depends on whether one wants to decorate the galleries with wallpaper, the vestiges of which had its roots in some ephemeral art movement coined "avant-garde," but most of the time the "cutting edge" is like a dull blade.
What is found in the realm of veristic art has the capacity to be much richer in content, much more inclusive (as opposed to reductive and deductive) and multifaceted than any so-called "less is more" types of ideologies that permeated the 20th century.
In my imagery I want to knock over those erected monuments to that rather small elite that think that the imagery is supposed to be illustrated by the text.
Although Dali seems already to have settled into his mature style by the '30s, the omega replica still witnessed unexpected flashes of innovation that pointed ahead to the postwar developments of a younger generation. For instance, the shaped canvases of 1936, their frames conforming to anatomical contours, might be perceived as unexpected foreshadowings of louis vuitton replica; and the Mae West Lips Sofa of 1938 would look quite at home in a Claes Oldenburg retrospective. But the major revelation of the Philadelphia exhibition was Dali's postwar work, which brims with totally fresh inventions, rolex replica, yet very different from his classic icons. This material also constantly surprises us by intersecting with the art of the later twentieth century, a time when few paid heed to what Dali was up to, as was the case with the omega replica late work of Picabia and de Chirico. Of these unexpected discoveries, perhaps the most precocious are The Sistine Madonna, 1958, and Portrait of My Dead Brother, 1963, in which painted screens of benday dots (some made of cartier replica!) veil phantom images, including a of Raphael's religious icon afloat in a giant ear and the ghostly head of Dali's brother, also named Salvador, who died nine months before the artist's own birth. These ambitious paintings seem simultaneously to belong to the Surrealist past and to the young art of the '60s, acting as replica watches uk of Roy Lichtenstein, Sigmar Polke, and Chuck Close, not to mention Op art.