The Gala-Salvador Dalí Foundation has put an end to a huge job: painter's reasoned catalogue of painting Empordà after 17 years of analysis and research that have managed to identify a thousand works in oil and temple — does not include neir watercolors nor drawings — created between 1910 and 1983. The dedicated foundation, toger with center of Dalinian Studies, to management of Dalí 's legacy has presented this Monday last section and complete catalogue that can be consulted, from today on a modernized website to be more "accessible". It is available worldwide for free and universal in Catalan, Spanish, French and English.
The catalogue includes five sections divided chronologically. Between 1910 and 1929, 267 works are dated; From 1930 to 1939, a total of 222; From 1940 to 1951 meet 140; From 1952 to 1964 have been posted 138 works and finally from 1965 until Dalí stopped painting, in 1983, a total of 233 creations. Of 1,000 inventoried works, figure to which director of Museums Dalí, Montse Agueda, has referred to as "a magic number" that "can vary why re is some oil in study", 320 belong to bottom of institution, 36 are listed as missing or not Located and 9 It is known that y were destroyed in a fire of a building.
The Foundation's specialists are studying between 10 and 15 more works to see if y can be included in this catalogue, but Agueda believes "it will take time to find out". After nearly two decades of intense and meticulous investigations of Dalí 's pictorial work, it is difficult to find new works that are not in his database.' Apisaje ', work painted between 1910 and 1914 and catalogued with number 1 by Fundación Gala-Salvador Dalí. Fundació Gala-Salvador Dalí
The intention of foundation is to definitively establish corpus of pictorial work Dalinian, including between 1910 and 1983 and that catalogue becomes an essential consultation tool for all those who want to deepen in Knowledge of artist's artistic activity. This on-line catalogue, transversal project and research pioneer, was proposed for study and dissemination of work of genius. From center of Dalinian Studies y were aware that re was no exhaustive research work of this kind and re were few references.
The specialists of Foundation have explained that at beginning of project, in 2000, y were based on two studies, catalogue reasoned (not digital) that drew up Joan Miró, as an exceptional example of cataloguing because he reviewed artist in life, and that of William Turner , promoted by Tate Gallery in London. "Furr projects have followed our model, for example to make catalogues of artists Joaquim Torres-García or Roy Liechtenstein," They say in foundation.
Agueda has highlighted that y have had an excellent collaboration of museums such as Reina Sofia, but that particular collections, sometimes reluctant, have made work of dating and provenance of work difficult. The head coordinator of Foundation, Carme Ruiz, has put in value "valuable contributions of Antoni Pitxot, who was director of Theatre Museum up to 2015". "His testimony has been crucial for study and cataloguing of paintings, especially those made from years 70, when he was collaborator of Theatre Museum and Direct witness of many of executions of paintings of this period" has pointed.
Agueda have also advanced that in long run foundation is planning to materialize catalog on paper and are working simultaneously in sculpture and graphic work "but re is for time because y are difficult processes, arduous and much more complicated" "Still than paint ones." It has advanced that y plan to present first section of sculpture catalogue reasoned at end of 2018.
The catalogue presented today will make it easy to visualize painter's artistic evolution. From first attempts, learning of youth, step towards surrealism and even artistic consolidation to novel international and traffic towards a classicism in which science and religion acquire great protagonism.
For foundation, definitive fixation of Dalí 's pictorial work through this catalogue is not only a contribution to best knowledge of artist's work but also a valuable instrument for study of twentieth-century art for public in gene RAL As for researchers from all over world. For owners of paintings and for market in general, it is also a guarantee of aunticity of work.