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...first Dali canvas to attract general U.S. attention was shown at last summer's Century of Progress Exhibition under its official title, The Persistence of Memory. All Chicago knew it as "The Wet Watches." (see cut, p. 44). In the foreground were four great watches. One dripped over the edge of a table like so much melting butter. A second, like an old washrag, hung over a dead branch. The third reposed on the back of a small monster with a long delicate nose. The fourth, rigid, was crawling with ants...

Author: /time Magazine | Title: Art: Frozen Nightmares | 11/26/1934 | See Source »

Critic Lewis Mumford thus describes the Dali canvases...

Author: /time Magazine | Title: Art: Frozen Nightmares | 11/26/1934 | See Source »

...Unlike the sentimental painters who represent dreams as misty and delicate, Dali shows them hard and as severely realistic in surface as dreams often are....Dali does not permit the dream to dissolve; his pictures are, as it were, frozen nightmares...

Author: /time Magazine | Title: Art: Frozen Nightmares | 11/26/1934 | See Source »

They are also completely devoid of humor and largely erotic. A familiar property in Dali paintings is a crutch which supports fantastic pieces of flesh...

Author: /time Magazine | Title: Art: Frozen Nightmares | 11/26/1934 | See Source »

Painting is his métier but the cinema is Salvador Dali's hobby. Already he has written and helped to produce two surrealist cinemas, Le Chien Andalou and L'Age D'Or. The latter film, an irrational hodge-podge of sense and sensuality, was banned in Paris but shown behind locked doors in Manhattan two winters ago. Excerpt from the official synopsis...

Author: /time Magazine | Title: Art: Frozen Nightmares | 11/26/1934 | See Source »

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