Salvador Dali Posters Prints Fine Art

Swans Reflecting Elephants Poster

Elephants Poster

Ship Art Print

Metamorphosis of Narcissus Poster

Person at Window Art Print

Dream Caused by Flight of a Bee around a Pomegranate

Landscape with Butterflies

Soft Watch at Moment of First Explosion

Female Figure with Head of Flowers

Ecumenical Council Art Print

Galatea of Spheres

Rose Meditative Poster

Spain Art Print

Burning Giraffe Poster

Disintegration of Persistence of Memory

Dali was born on May 11, 1904, in the township of Figueres, in the Emporda region close to the French border in Catalonia, Spain. Dali's elder brother, likewise called Salvador, had passed away of gastroenteritis nine months before on August 1, 1903. His father Salvador Dali i Cusi, was a attorney and notary public whose stern disciplinarian view was modified by his wife, Felipa Domenech Ferres, who encouraged her son's artistic attempts. When he was five, Dali was brought to his brother's graveside where his parents told the young Dali that he was his dead brother's reincarnation which he came to trust.

Dali as well had a sister, Ana Maria, who was three years his junior. In 1949 she released a book about her brother, Dali As Seen By His Sister. His childhood acquaintances included future famed FC Barcelona footballers, Sagibarba and Josep Samitier. During vacations at the Catalan hotel of Cadaques, the trio played football with each other.

Dali went to drawing school. In 1916 Dali also was introduced to contemporary painting on a summer holiday to Cadaques with the family of Ramon Pichot, a local artist who took frequent travels to Paris. The following year, Dali's father coordinated an exposition of his charcoal drawings in their family house. He had his first public showing at the Municipal Theater in Figueres in 1919.

Cinquenta Tigre Real Poster

Idylle Atomique Art Print

Musical Temp

Hallucinogenic Toreador

Reminescence Archeologique de l'Angelus de Millet

Persistence of Memory

Metamorphosis of Narcissus

Ghost of Vermeer Art Print

Burning Giraffes in Brown

Temptation of St. Anthony Art Print

Woman with a Head of Roses

Lincoln in Dalivision Art Print

Hallucinogenic Toreador

City of Drawers Art Print

In February 1921, his mother passed away of breast cancer. Dali was sixteen years old; he afterward stated his mother's death "was the greatest blow I had experienced in my life. I worshiped 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." Subsequently following her death, Dali's father wed his deceased wife's sister. Dali did not begrudge this matrimony as some consider, since he had a profound love and regard toward his aunt.

In 1922, Dali took up residence the Students' Residence in Madrid and there was educated at the School of Fine Arts. A lean tall handsome young man, Dali already called attention to himself as an character, wearing long hair and sideburns, coat, stockings and knee breeches in the manner of the English ascetics of the late 19th century. However these paintings, where he dabbled with Cubism, garnered him the most attention from his colleagues. In these early Cubist works, he credibly did not wholly interpret the movement, as his sole information on Cubist art derived from a a couple of magazine articles and a catalog handed to him by Pichot, and there were no Cubist artists in Madrid at that point.

Ma Femme Nue Regardant son Porpe Corps

Mirage Art Print

Santiago El Grande Art Print

Sommeil Art Print

Atavistic Vestiges after Rain

Apparition of Face of Aphrodite

Dali also toyed with with Dada, which molded his work throughout his lifetime. At the Residencia he developed close friendships with, amid others, Pepin Bello, Luis Bunuel, and the poet Federico Garcia Lorca. The friendly relationship with Lorca had a substantial element of reciprocal passion, but Dali fearfully declined the erotic approaches of the poet.

Dali was thrown out from the Academia in 1926 briefly prior to his last exams when he claimed that no one on the staff was capable enough to test him. His command of painting skills is well certificated by that time in his flawlessly lifelike Basket of Bread, which was painted in 1926. That same year he made his initial trip to the city of Paris where he encountered with Pablo Picasso, whom young Dali idolized. Picasso had already got word complimentary things about Dali from Joan Miró. Dali did several works greatly molded by Picasso and Miró over the following few years as he grew into his personal style.

A few tendencies in Dali's work that would persist throughout his lifetime were already apparent in the 1920s. Dali consumed influences of all modes of art he could discover and then created works ranging from the most academically traditional to the most forefront avant-garde, sometimes in individual works and occasionally fused. Exhibitions of his works in Barcelona drew much attention and assortments of praise and mystified dispute from critics.

Dali grew himself a showy mustache, which turned out to be a signature of him; it was shaped by that of seventeenth century Spanish master painter Diego Velázquez.

In 1929, Dali cooperated with the surrealistic cinema director Luis Bunuel on the short film An Andalusian Dog. He was principally liable for assisting Bunuel pen the script for the movie. Dali afterward exacted to have been to a great extent more engaged in the shooting of the project, but this is not confirmed by modern accounts.

Likewise that year he encountered his muse, inspiration, and forthcoming wife Gala, born Elena Ivanovna Diakonova, a Russian immigrant eleven years his senior who was at the time wedded to the surrealist poet Paul Eluard.

Also that same year, Dali had significant professional exhibitions and formally joined the surrealist group in the Montparnasse section of Paris even though his art had already been to a great extent shaped by surrealism for two years. The surrealists heralded what Dali termed the Paranoiac-critical technique of accessing the subconscious for greater artistic creativity.

In 1931, Dali painted one of his most notable works, The Persistence of Memory. Sometimes called Soft Watches or Melting Clocks, the work presented the surrealistic picture of the lax, melting pocket watch.

The universal interpretation of the work is that the soft watches debunk the presumption that time is unbending or settled, and this feel is supported by additional icons in the work, such as the broad increasing landscape and the ants and fly consuming the added watches.

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

Dali was brought to America by art dealer Julian Levy in 1934, and the exposition of Dali works which included the painting Persistence in New York and it subsequently produced an prompt sensation. Social Register members celebrated him at a specially orchestrated "Dali Ball". He arrived wearing on his chest a glass case holding a brassiere.

In 1936, Dali participated in the London International Surrealist Exhibition. His contributed to the event by speech titled Fantomes paranoiaques authentiques was given whilst wearing a deep sea dive suit.

He showed up at the event bearing a billiard cue and guiding a duo of Russian wolfhounds, and had to have the helmet unscrewed as he panted for breath. He remarked that "I just wanted to show that I was 'plunging deeply' into the human mind."

Dali, rather than decrying Hitler as his associate surrealists, evolved an obsessive interest in what he titled "the Hitler phenomenon" which was disapproved of by his primarily Marxist surrealist contemporaries. later, once Francisco Franco arrived in office in the wake of the Spanish Civil War, Dali was among the few Spanish intellects supporting of the new government which finally led in his formalized exclusion from the surrealist membership. At this, Dali returned, "Le surrealisme, c'est moi." Andre Breton coined the anagram "avida dollars" for Salvador Dali, which loosely interprets to "zealous for dollars," by which he denoted to Dali after the point of his ejection. The surrealists afterward talked of Dali in the past tense, as though he were deceased. At this point his principal patron was the extremely moneyed Edward James. The surrealist trend and assorted members such as Ted Joans would proceed to release exceedingly abrasive polemics against Dali until the point of his death and even afterward.

As World War II commenced in Europe, Dali and Gala traveled to the United States in 1940, where they dwelt for eight years. Subsequently following the move, Dali turned back to Catholicism. In 1942, he released his autobiography, The Secret Life of Salvador Dali.

An Italian friar named Gabriele Maria Berardi, exacted to have executed an exorcism on Dali when he was in France in 1947. The friar's land contained a carving of Christ on the cross which Dali delivered to his exorcist to thank him. The sculpture was identified in 2005 and two Spanish experts in Surrealism supported that there were sufficient stylistic grounds to trust the sculpture was constructed by Dali.

Beginning in 1949, Dali passed his remaining years back in his much loved Catalonia. The truth that he decided to reside in Spain though it was ruled by Franco attracted criticism from progressives and numerous additional artists. As such, it is plausible that at least a few of the general dismissal of Dali's final works had more to do with political sympathies than the literal merits of the art itself. In 1959, Andre Breton coordinated an exhibit known as, Homage to Surrealism, observing the Fortieth Anniversary of Surrealism, which was comprised of artworks by Salvador Dali, Joan Miro, Enrique Tábara, and Eugenio Granell. Breton vehemently crusaded against the addition of Dali's Sistine Madonna in the International Surrealism Exhibition in New York city the coming year.

In the advanced stages in his career, Dali did not restrict himself to painting but tried out with many different or fresh media and methods: he made bulletist artworks and was amidst the ordinal artists to utilize holography in an artistic style. Numerous works integrated visual illusions. In his later years, junior artists like Andy Warhol glorified Dali an significant influence on pop art. Dali in addition to had a acute interest in natural science and math. This is demonstrated in various paintings, notably in the 1950s while he painted his themes as composed of rhinoceros horns, intending divine geometry as the rhinoceros horn matures agreeing with a logarithmic spiral and chastityas Dali associated with the rhinoceros to the Virgin Mary. Dali was also mesmerized by DNA and the hypercube - a 4-dimensional cube - and an spreading of a hypercube is conspicuous in the painting Crucifixion Corpus Hypercubus.

Dali's post World War II time period assumed the trademarks of specialized virtuosity and an pursuit of optical illusions, scientific discipline and religious belief. More and more Catholic, and prompted by the impact of Hiroshima, he pronounced this period "Nuclear Mysticism". In paintings such as The Madonna of Port-Lligat of 1949 and Corpus Hypercubus, 1954, Dali searched to synthesize Christian iconography with envisions of corporeal decomposition prompted by nuclear physics. "Nuclear Mysticism" included such renowned artwork as La Gare de Perpignan, 1965, and Hallucinogenic Toreador, 1968-1970. In 1960, Dali commenced working on the Dali Theater and Museum in his home town of Figueres; it was his biggest individual design and the principal direction of his vitality through 1974. He persisted in to constructing add-ons during the mid 1980s.

In 1968, Dali shot a TV ad for Lanvin chocolates and in 1969 created the Chupa Chups logo. Also in 1969, He was responsible for producing the advertising scene of the 1969 Eurovision Song Contest, and made a broad metal sculpture, which was placed on the stage at the Teatro Real in Madrid.

In the television broadcast Dirty Dali: A Private View aired on Channel 4 on June 3, 2007, the fine art critic Brian Sewell depicted his familiarity with Dali in the later 1960s, which included lying down in the fetal posture without pants in the armpit of a figure of Christ and masturbating for Dali who feigned to take photographs while blundering in his own pants.

In 1980, Dali's wellness took a ruinous bend. His almost senile wife Gala was drugging him with a unsafe cocktail of non-prescribed medication that battered his nervous system and caused an premature conclusion to his artistic ability. At seventy-six years old, the always able-bodied Dali was a utter wreck, his right hand quivering awfully, Parkinson-like.

In 1982, King Juan Carlos of Spain presented Dali with the status Marquis of Pubol, for which Dali afterwards repaid him in turn by gifting him a drawing Head of Europa, which would become Dali's last drawing subsequently after the king called upon him on his deathbed.

Gala passed away on June 10, 1982. After Gala's death, Dali suffered from a loss of his desire to live. He intentionally dehydrated himself perhaps as a suicide attempt, maybe in an attempt to place himself into a state of suspended animation, as he had learned that some microorganisms could do. He traveled from Figueres to the castle in Pubol which he had purchased for Gala and was the place of her dying. In 1984, a fire broke out in his bedchamber under vague conditions which may have been a suicide effort by Dali, perchance mere carelessness by his staff. In any event, Dali was rescued and brought back to Figueres where a group of his supporters, patrons, and associate artists assured that he was at ease residing in his Theater-Museum for his closing years.

Allegations have been voiced that his guardians pressured Dali to sign clean canvasses that would afterward yet after his dying be exploited and sold as originals. As a consequence, art dealers are inclined to be suspicious of late works ascribed to Dali. He died of heart failure at Figueres on January 23, 1989 at the age of 84, and he is entombed in the crypt of his Teatro Museo in Figueres.

Dali utilized considerable symbolism in his artwork. For illustration, the trademark soft watches that firstly come out in The Persistence of Memory evoke Einstein's hypothesis that time is relative and not fixed. The thought for clocks working symbolically in this manner occurred to Dali while he was gazing at a runny bit of Camembert cheese on a hot day in August.

The elephant is likewise a repeating icon in Dali's artworks. It first appeared in his 1944 piece Dream Caused by the Flight of a Bee around a Pomegranate a Second Before Awakening. The elephants, prompted by Gian Lorenzo Bernini's carving base in Rome of an elephant bearing an ancient obelisk, are depicted "with long, multi-jointed, almost invisible legs of desire" along with obelisks on their backs. Linked with the picture of their brittle legs, these burdens, observed for their phallic suggestion, produce a feel of shadow reality. "The elephant is a distortion in space," one analysis explicates, "its thin legs contrasting the idea of weightlessness with structure." " 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 Dali, in Dawn Ades

The egg is a different usual Daliesque image. He associates the egg to the prenatal and intrauterine, therefore applying it to represent hope and love; it is used in The Metamorphosis of Narcissus. Assorted beasts appear throughout his artwork as well: ants bespeak death, decay, and vast sexual want; the snail is affiliated to the human head he envisioned a snail on a bicycle outside Freud's home when he originally met Sigmund Freud; and locusts are a symbol of desolation, waste and fear.

Dali was a skilled artist, not restraining himself exclusively to painting in his artistic enterprises. Some of his more popular artistic works are sculptures and additional items, and he is also famed for his donations to theater, fashion, and photography amidst other expanses.

Two of the most well known objects of the surrealist era were the Lobster Telephone and the Mae West Lips Sofa, finished by Dali in 1936 and 1937, respectively. The Scottish patron Edward James commissioned both of these compositions from Dali; James, an outlandish gentleman who had come into a prominent English estate when he was five, was one of the front patrons of the surrealists in the 1930s. "Lobsters and telephones had strong sexual connotations for Dali" reported to the display subtitle for the Lobster Telephone at the Tate Gallery, "and he made a close analogy between food and sex." The telephone was operative, and James bought four of them from Dali to substitute for the telephones in his vacation dwelling. One now resides at the Tate Gallery, another can be encountered at the German Telephone Museum in Frankfurt; the third is owned by to the Edward James Foundation; and the fourth is located at the National Gallery of Australia.

The wood and satin Mae West Lips Sofa was molded after the lips of actress Mae West, whom Dali evidently found captivating. West was previously the subject of Dali's 1935 art The Face of Mae West. The Mae West Lips Sofa presently inhabits the Brighton and Hove Museum in England.

During the time between 1941 and 1970 Dali was likewise accountable for producing a dramatic ensemble of gems, 39 in number. The jewels created are complex and some carry literal moving parts. The most renowned jewel made by Dali, "The Royal Heart", is crafted applying gold and is covered with forty-six rubies, forty-two diamonds and four emeralds, and is created in such a fashion that the core "beats" much like a real heart. Dali himself pointed out 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." (Dali, 1959.) The Jewels of Dali accumulation may be viewed at the Dali Theater Museum in Figueres, Catalonia, Spain, where it is on perpetual exhibition.

In theater, Dali is recollected for fabricating the scenery for Garcia Lorca's 1927 romantic drama Mariana Pineda. For Bacchanale (1939), a ballet founded on and set to the music of Richard Wagner's 1845 opera Tannhäuser, Dali furnished both the set design and the libretto. Bacchanale was accompanied by set projects for Labyrinth in 1941 and The Three-Cornered Hat in 1949.

Dali also dallied into the regions of filmmaking, most notably performing a broad role in the production of Un Chien Andalou, a French art film co authored with Luis Bunuel that is commemorated for its vivid opening scene imitating the slashing of a human eyeball with a razor. Dali joined forces once more with Luis Bunuel on the 1930 picture, L'Age d'Or, and carried on to write a measure of film scripts, very few of which made it past conception. The most familiar of his film labors is credibly the dream episode in Alfred Hitchcock's Spellbound, which to a great extent cuts into into ideas of psychoanalysis. He also collaborated on a Disney cartoon film titled Destino; finished in 2003 by Baker Bloodworth and Roy Disney, it incorporates dream like fancies of eerie figures flying and walking around. Dali finished merely one other picture in his life: Impressions of Upper Mongolia (1975), in which he recounted a tale about an excursion questing behemoth hallucinogenic mushrooms. The imagery was founded on microscopic uric acid blots on the brass circle of a ballpoint pen on which Dali had been urinating for numerous weeks.

Dali constructed a repertoire in the style and photography business also. In fashion, his cooperation with the Italian fashion designer Elsa Schiaparelli is long-familiar, where Dali was employed by Schiaparelli to develop a white dress with a lobster print. Additional conceptions Dali brought in for her include a shoe formed hat and a pink belt with lips for a clasp. He was also engaged in producing fabric designs and fragrance bottles. With Christian Dior in 1950, Dali created a extraordinary "costume for the year 2045." Lensmen with whom he joined forces include Man Ray, Brassaï, Cecil Beaton, and Philippe Halsman.

References to Dali 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."

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

Architectural accomplishments include his Port Lligat home close to Cadaques along with as the Dream of Venus surrealist marquee at the 1939 World's Fair which carried inside it a number of fantastical sculpts and statues. His literary works include The Secret Life of Salvador Dali, Diary of a Genius, and Oui: The Paranoid-Critical Revolution. The artist operated extensively in the graphic arts developing numerous etchings and lithographs. Although his early artwork in printmaking is equivalent in caliber to his significant paintings as he matured, he would sell the rights to images but not be mired in the print-production itself. Additionally, a great total of unauthorized counterfeits were made in the eighties and nineties hence additionally throwing the Dali print market.

One of Dali's most maverick aesthetic innovations could have been an full person. At a French nightspot in 1965 Dali met Amanda Lear, a fashion model then called Peki D'Oslo. Lear turned his protegee and muse, penning about their involvement in the accredited biography My Life With Dali. Mesmerized by the masculine, larger-than-life Lear, Dali orchestrated her prospering passage from modeling to the music domain, suggesting to her her on how to handle self introduction and assisting twist cryptic tales about her origin as she took the disco-art realm by storm. Reported by Lear, she and Dali were connected in a "spiritual marriage" on a abandoned mountaintop, and it has been hypothesized that Dali supported Lear's sex reassignment surgery. Named as Dali's "Frankenstein," some consider Lear's name is a pun on the French "L'Amant Dali," or Lover of Dali. Lear assumed the position of an earlier muse, Ultra Violet, who had departed Dali's side to link with the Factory of Andy Warhol.

Salvador Dali's political sympathies brought a considerable pert to his growth as an artist. He has occasionally been depicted as a helper of the tyrannical Franco. Andre Breton, leader of the surrealist cause, made a substantial attempt to divorce his name from surrealists right. The truth is probably moderately more complicated; in any case, he was not an anti-Semitic, as he was a amiable acquaintance of renowned architect and designer Paul Laszlo, who was Jewish. He also declared eager appreciation for Freud whom he encountered and Einstein, both Jewish, as may be substantiated throughout his compositions. In his appraising review of Dali's autobiography Secret Life, George Orwell published "One ought to be able to hold in one's head simultaneously the two facts that Dali is a good draughtsman and a disgusting human being." The misinterpretation plausibly arises from Dali's intentionally challenging scorn for the communist tendencies of his equals, and the fact that he painted Hitler on more than a single occasion. However, as he rightly called attention to his critics at the time, it was inconceivable for him to have been a sponsor of Hitler, who would have "done away with hysterics" such as Dali.

In his early days, Dali adopted for a period both anarchism and communism. His written material explain respective anecdotes of devising radical political affirmations more to scandalize listeners than from any true belief, which was in holding with Dali's dedication to the Dada movement. As he developed his political loyalties shifted, particularly as the Surrealist movement went through changes under the leading of the Trotskyist Andre Breton who is alleged to have called Dali in for inquiring about his personal politics. In his 1970 book Dali by Dali, Dali was announcing himself an anarchist and monarchist creating surmises of Anarcho-Monarchism.

When in New York City in 1942, he denounced his colleague, surrealist movie maker Luis Bunuel, as an atheist, inducing Bunuel to be dismissed from his place at the Museum of Modern Art and later on blacklisted from the American film industry.

With the eruption of the Spanish Civil War, Dali took flight from fighting and declined to align himself with any group. Similarly, after World War II, George Orwell criticized Dali for "scuttling off like rat as soon as France is in danger" after Dali flourished 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." Later on his homecoming to Catalonia after World War II, Dali became nearer to the Franco government. Some of Dali's assertions confirmed the Franco regime, complimenting Franco for his activities directed "at clearing Spain of destructive forces". Dali, following the Catholic faith, was nearly surely relating to the communists and anarchists who had wiped out almost 7,000 priests and nuns during the Spanish Civil War. Dali directed telegrams to Franco, "praising him for signing death warrants for political prisoners." Dali even met Franco in person and painted a portrayal of Franco's grand-daughter. It is infeasible to ascertain whether his testimonials to Franco were earnest or arbitrary; he also once sent a telegram laudatory the Conducator, Romanian Communist leader Nicolae Ceausescu, for his acceptance of a scepter as part of his regalia. The Romanian newspaper Scinteia printed it, without surmising its taunting facet. One of Dali's few potential acts of clear disobedience was his persistent congratulations to Federico Garcia Lorca even in the years when Lorca's works were shunned.

Dali was a brilliant and noble presence in his always present long cape, walking stick, lordly look, and turned waxed mustache, renowned for having said that "every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dali." The entertainer Cher and her husband Sonny Bono, when young, came to a party at Dali's costly mansion in New York's Plaza Hotel and were surprised when Cher sat down on an oddly shaped sexual vibrator left in an easy chair. When signing autographs for fans, Dali would forever keep their pens. When questioned by Mike Wallace on his 60 Minutes TV program, Dali kept naming to himself in the third person, and assured the surprised Mr. Wallace in matter of fact manner that "Dali is immortal and will not die". During a different television show, on the Tonight Show, Dali carried with him a leather rhinoceros and declined to sit upon anything other.

Dalí was a prolific artist who created over 1,500 paintings in his lifetime along with developing illustrations for books, lithographs, designs for theater sets such as Labyrinth, costumes, a large quantity of drawings, sculptures, and respective other projects including an animated cartoon with Walt Disney.

- A Heel of a Portuguese Loaf, 1932
- Accommodations of Desire, 1929
- Angelic Crucifixion, 1954
- Angelus of Gala, 1935
- Animted Still Life, 1956
- Anonymous after Acrimboldo, 17th century
- Anthropomorphic Bread, 1932
- Apparation of my Cousin Carolinetta on the Beach at Rose, 1933
- Apparation of Face and Fruit Dish on a Beach, 1938
- Apparatus and Hand, 1927
- Apparition of the Town of Delft, 1935-36
- Archeological Reminiscence of the Angelus by Millet, 1935
- Atavism of Twilight, 1933-1934
- Atavistic Ruins after the Rain, 1934
- Atomica Melancholica, 1945
- Automatic Beginning of a Portrait of Gala unfinisbed 1932
- Average Atmospberocepbalic Bureaucrat in the Act of Milking a Cranial Harp, 1933
- Battle in the Clouds, 1974
- Beach-Scene with Telephone, 1938
- Cadaques from the Back, 1921
- Cannibalism in Autumn, 1936-1937
- Cannibalism of the Objects, 1937
- Christ of Saint John of the Gross 1951
- Cover of Minotaure Magazine no 8, 1936
- Cubist Self-Portrait, 1923
- Cybernetic Odalisque, 1978
- Dali at the Age of Six, when he Thought he was a Girl, Lifting the Skin of the Water to see a Dog Sleeping in the Shade of the Sea 1950
- Dali Lifting the skin of the Mediterranean Sea to Show Gala the Birth of Venus, 1977
- Dematerialization near the Nose of Nero, 1947
- Dream Caused by the Flight of a Bee around a Pomegranate,a Second before Waking Up, 1944
- El Moli - Landscape near Cadaques, 1923
- Evocation of Lenin, 1931
- Family of Marsupial Centaurs, 1940
- Figure betwwen the Rocks, 1926
- Figure Climbing a Stair, 1967
- Fried Eggs on a Plate without Plate, 1932
- Gala and the Angelu of Millet Immediately Preceding the Arrival of Conic Anamorphosis, 1933
- Gala with Two Lamb Chops in Equilibrium on Her Sboulder, 1933
- Galacidalacidesoxyribonucleicacid, 1963
- Galarina, 1944-45
- Gala's Castle at Pubol,1973
- Galatea of the Spheres, 1952
- Geological Development, 1933
- Geopolitical Child Watching the Birth of the New Man, 1943
- Girl at the Window, 1925
- Grucifixion Corpus Hypercubus, 1954
- Hairdresser Depressed by the Persistent Good Weatber, 1934
- Half a Giant Cup Suspended with an Inexplicable Appendage Five Meters Long, 1944-1945
- Hallucinogenous Bullfighter, 1968-70
- Harlequin
- Illumined Pleasures, 1929
- Imperial Monument to the Child- Woman, 1929
- Impressions of Africa, 1938
- In six Real Mirrors, 1972-73
- Into a portrait of Abrabam Lincoln, 1976
- Intra-Atomic Equilibrium of a Swan's Feather, 1947
- Leda Atomica, 1949
- Lighted Giraffes, 1936-1937
- Looking at her own Body, 1945
- Mae West's Fach Which Can Be Used as a Surrealist Apartment, 1934-35
- Masochistic Instrument, 1933-1934
- Media- Paranoiac Image, 1935
- Meditation on the Harp, 1932-1934
- Melancholy, 1942
- Metamorphosis of Narcissus, 1937
- Necropbilic Spring Flowing from a Grand Piano, 1933
- Nuclear Gross, 1952
- Nude Figures at Cape Ceus, 1970
- Nude, 1974
- Palladio's Corridor of Thalia, 1937
- Paranoiac Critical Solitude, 1935
- Paveik
- Poetry of America The Cosmic Athletes, 1943
- Portrait of Paul Eluard, 1929

- Portrait of Freud, 1937
- Portrait of Hortensia Peasant Woman from Cadaque
- Portrait of Luis Bunuel, 1924
- Portrait of My Dead Brother, 1963
- Portrait of Mr.Emilio Terry unfinisbed, 1930
- Portrait of My Father, 1920-1921
- Portrait of My Father, 1925
- Portrait of the Cellist Ricardo Pichot, 1920
- Raphaelesque Head Bursting, 1951
- Searching for the Fourth Dimension, 1979
- Self Portrait with the Neck of Raphael, 1920-1921
- Senicitas Summer Forces and Birtb if Vebys, 1927-1928
- Slave Market with Invisible Bust of Voltaire, 1940
- Slave Market with the Disappearing Bust of Voltaire, 1940
- Sleep, 1937
- Soft Construction with Boiled Beans Premonition of Civil War, 1936
- Soft Self Portrait with Fried Bacon, 1941
- Soft Watches, 1933
- Spain 1936-1938
- Spectre of Appeal, 1932

- Stage Set for Labyrinth, 1941
- Still Life by Moonligbt, 1927
- Study for Honey is Sweeter than Blood, 1926
- Suburbs of Paranoiac Critical Town Afternoon on the Outskirts of European History, 1936
- Sun Table, 1936
- Surrealist Object indicative of Instantaneous Memory, 1932
- Surrealist Poster, 1934
- The Bread Basket, 1926
- The Ambivalent Image, 1933
- The Apotheosis of Homer Diurnal Dream of Gala, 1944-1945
- The Bread Basket, 1945
- The Chemist of Ampurdan Looking for Absolutely Nothing, 1936
- The Discovery of America by Christopher Columbus, 1958-59
- The Donkey's Carcass, 1928
- The Dream, 1931
- The Ecumenical Council, 1960
- The Endless Enigma, 1938
- The Enigma of Hitler, 1937
- The Enigma of William Tell, 1933
- The Enigma of Desire, 1929
- The Face of War, 1940
- The Fountain, 1930
- The Great Paranoiac, 1936
- The Invisible Harp and Medium, 1932
- The Invisible Man, 1929-1932
- The Lugubrious Game, 1929

- The Madonna of Port Lligat, 1950
- The Meditative Rose
- The Old Age of William Tell, 1931
- The Persistence of Memory, 1931
- The Phantom Wagon, 1933
- The Railway Station at Perpignan, 1965
- The Royal Heart, 1951-52
- The Sacrament of the Last Supper, 1955
- The Sick Child Self-portrait at Cadaques, 1923
- The Space Elephant, 1956
- The Spectra Cow, 1928
- The Sublime Moment, 1938
- The Temptation of Saint Anthony, 1946
- The Three Ages, 1940
- The tomb of Juliet, 1942
- The Transparent Simulacrum of the Feigned Image, 1938
- The Weaning of Furniture Nutrition, 1934
- Three Face of Gala Appearing among the Rocks, 1945
- Triangular Hour, 1933
- Tristan and Isolde, 1944
- Tuna Fishing, 1966-67
- Venus and Amorini, 1925
- Virgin of Guadalupe, 1959
- Young Virgin Autosodomized by Own Chastity, 1954