Individual Artists

50 Secrets of Magic Craftsmanship by Salvador Dali

Posted On March 23, 2017 at 4:51 pm by / Comments Off on 50 Secrets of Magic Craftsmanship by Salvador Dali

By Salvador Dali

Rare, vital quantity within which famed Surrealist expounds — in his inimitably eccentric model — on what portray will be, the heritage of portray, what's solid and undesirable portray, the benefits of particular artists, and extra. comprises his 50 "secrets" for getting to know the craft, together with "the mystery of the painter's pointed mustaches."

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5. If you are one of those who believe that modern art has surpassed Vermeer and Raphael, don't read this book, just go right on in your blissful idiocy. 6. Don't vomit on your picture, because it is the picture which can vomit on you after you are dead. 7. No lazy masterpieces! 8. Painter, paint! 9. Painter, don't drink alcohol, and chew hashish only five times in your life. 10. If painting doesn't love you, all your love for her will be unavailing. Observe how, when oil color is improperly handled, it is smeared on the canvas, stigmatized by a crude, repulsive opacity, or by a “dull discontinuity” as of ejected matter, now soft and at the same time brittle, now lumpy, spasmodically leprous or running, dirty, turning green and yellow, with even the azures becoming muddy-colored and excremential.

Since this book is to be the book of the justice of painting, it will inevitably be cruel to modern painting, and if we owe an infinite respect to the dramatic obstinacy of Cézanne in aspiring to build, to the authenticity of his classicist torments, to the nobility of his ambitions, we do not regret having, at the very beginning of this book, cut off his two clumsy hands as we have just done, for in truth everything that he “realized” he could just as well have achieved with his feet! Five thoughts on art 1.

In 1936, in Paris, I visited an exhibition of so-called abstract painting in the company of the late Maurice Heine, the erudite specialist on the Marquis de Sade, and he noticed that during the whole visit my eyes kept coming back to a corner of the exposition room in which no work was being exhibited. ” “It's nothing invisible,” I replied to reassurehim, “I just can't help looking at that door—it is so well painted. " This was rigorously true. None of the painters who had hung their canvases in this room would have been capable of painting that door.

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