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...gallery reeked of perfume and rustled with silk and feathers. The extra-heavy cream of Manhattan café society eddied thickly between the walls, slowed to an occasional standstill by the 15 new Salvador Dali oils hanging there. The Flying Giant Demi-Tasse gave them pause; so did the Portrait of Pablo Picasso in the 21st Century - a creature with ram's horns and two tongues, one a foot long...

Author: /time Magazine | Title: Art: And Now to Make Masterpieces | 12/8/1947 | See Source »

...Dali himself, a man with a delicate handlebar mustache, was as soberly anxious to please as a well-behaved schoolboy at a grownups' party. Modestly, he implied that not one of the paintings was really a finished masterpiece. Said he: "I have just reached the age of 44 and have finally decided that ... it is my duty to start painting my first masterpieces...

Author: /time Magazine | Title: Art: And Now to Make Masterpieces | 12/8/1947 | See Source »

Sitting on Air. As a start, Dali was exhibiting one he had not yet mastered. He had spent only three months on it so far, and he figured it would need another four. The "masterpiece-in-progress" was an expert, academic picture of his wife Gala, sitting naked on the air, with a swan...

Author: /time Magazine | Title: Art: And Now to Make Masterpieces | 12/8/1947 | See Source »

Long ago, when he was an unknown schoolboy in Spain, Dali had let his hair grow in order to resemble Raphael's self portrait. Now, his ambition was to "recreate Raphael" in oils. But instead of a Raphaelesque Madonna, Dali had chosen for his "masterpiece" the Greek myth of Leda (whom Zeus seduced, in the guise of a swan). Dali's up-to-the-minute title: Leda Atomica. "Le head," explained Dali in his scrambled English, "ees the most finish. Le figure weel remain très clair. Le rest weel become très nocturne. Weel appear...

Author: /time Magazine | Title: Art: And Now to Make Masterpieces | 12/8/1947 | See Source »

Fashionable Cheese. His new devotion to Raphael, Dali believes, is just as fashionable as his handsome hotel suite in midtown Manhattan (which he once described as "an immense Gothic Roquefort cheese"). In fact, he says, "eet ees prophétique. Le people are tired of l'ugliness. Eet ees not possible to continue the destructive themes of Picasso. Mon revolution," he adds gravely, "ees very close to Catholicism...

Author: /time Magazine | Title: Art: And Now to Make Masterpieces | 12/8/1947 | See Source »

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