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Des Rois Pendus aux Arbres
Des Rois Pendus aux Arbres is an etching on parchment made by Surrealist artist Salvador Dalì from the suite: "Roi, Je t'attends à Babylone".
Hand signed. Edition of 150 prints. Etching on parchment.
This etching is considered one of the most important works by Salvador Dalì.
The Salvador Dali's "Roi, je t’attends a Babylone" portfolio consists of twelve drypoints, issued in 1973. They are printed on parchment by the editor Albert Skira.
Artist | Salvador Dalì |
---|---|
Typology | Original Prints |
Technique | Etching |
Period | 1970s |
Signature | Hand Signed |
Conditions | Good (minor cosmetic wear) |
Dimensions (cm) | 61 x 0.1 x 44 |
Des Rois Pendus aux Arbres is an etching on parchment made by Surrealist artist Salvador Dalì from the suite: "Roi, Je t'attends à Babylone".
Hand signed. Edition of 150 prints. Etching on parchment.
This etching is considered one of the most important works by Salvador Dalì.
The Salvador Dali's "Roi, je t’attends a Babylone" portfolio consists of twelve drypoints, issued in 1973. They are printed on parchment by the editor Albert Skira.
Salvador Dalí, in full Salvador Felipe Jacinto Dalí y Domenech, (born May 11, 1904, Figueras, Spain—died January 23, 1989, Figueras), was a Spanish Surrealist painter and printmaker, influential for his explorations of subconscious imagery.
The Surrealists’ examination of the human psyche and dreams reached new apices Salvador Dalí. In his paintings, sculptures, jewellery, and designs for both furniture and movies, Dalí explored a deeply erotic dimension, studying the writings of Richard von Krafft-Ebing and Sigmund Freud, from which he conceived what he called the “paranoiac-critical method” to abet his creative process.As he declared, he aimed in his paintings “to materialise the images of concrete irrationality with the most imperialistic fury of precision […] in order that the world of imagination and of concrete irrationality may be as objectively evident […] as that of the exterior world of phenomenal reality”. He strove to make the world of his paintings persuasively real – in his words, to make the irrational concrete.