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The Dance | Salvador Dalí | 1957

The Dance | Salvador Dalí | 1957

€32,95
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About the artwork:

Salvador Dalí's The Dance (1957) is a vibrant exploration of movement, surrealism, and psychological complexity. The painting features figures that appear fluid and almost spectral, merging into the landscape as though they are both part of the environment and transcending it. Dalí's use of bold, swirling colors and elongated forms evokes a sense of rhythm and energy, imbuing the scene with an otherworldly dynamism. The dancers seem to defy gravity, their distorted bodies embodying the surrealist principle of breaking free from physical and conventional boundaries. This work reflects Dalí's fascination with the subconscious, as the dreamlike quality of the painting invites viewers to ponder the interplay between physical expression and inner emotion. By blending surreal distortion with the vitality of dance, The Dance serves as a poetic meditation on human creativity and its ability to transform reality.

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  • Title The Dance (La Danse; also titled Rock 'n' Roll, Rock and Roll, or "Dancing. The Seven Lively Arts")
  • Artist Salvador Dalí (Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st Marquess of Dalí of Púbol; Catalan Surrealist painter, draughtsman, sculptor, printmaker, filmmaker and writer; Figueres, Catalonia, Spain, 11 May 1904 - Figueres, 23 January 1989)
  • Year of creation 1957 (the painting is also titled Rock 'n' Roll, Rock and Roll, or Dancing. The Seven Lively Arts in the Fundació Gala-Salvador Dalí catalogue. The genesis is one of the more remarkable stories in Dalí's career. In 1944 the American Broadway impresario Billy Rose, having just bought the Ziegfeld Theatre in New York and reopened it with a glittering revue called The Seven Lively Arts, commissioned Dalí to paint a cycle of seven monumental oil-on-canvas allegories on the show's seven theatrical themes — Opera, Ballet, Cinema, Theatre, Radio, the Art of the Concert, and Boogie-Woogie — to hang in the theatre. After their run at the Ziegfeld the seven canvases were eventually taken to Rose's country house at Mount Kisco, New York, where in April 1956 all seven were destroyed in a house fire. Dalí, in exchange for the compensation Rose had received from the insurance company, agreed to repaint the entire cycle, and over a feverish two-month period in his suite at the St. Regis Hotel in New York in 1957 produced a complete second version of the series — substituting, however, the now-outdated Boogie-Woogie panel with this one, retitled Rock and Roll / La Danse in tribute to the new music sweeping America. The composition shows two attenuated, mask-faced figures locked in a violent embrace that is half-dance, half-combat, set against one of Dalí's typical Cap de Creus / Port Lligat desert horizons, the bodies distorted into surreal twisted forms — a "Dionysiac" rock-and-roll dance whose sexual and aggressive subtext Dalí makes barely metaphorical. Salvador Dalí Catalogue raisonné no. OE 727)
  • Technique/Medium Oil on canvas
  • Original dimensions approx. 84 x 117 cm (33 x 46 inches)
  • Collection/Museum Morohashi Museum of Modern Art, Kitashiobara, Fukushima Prefecture, Japan (the museum opened on 3 June 1999 around the personal Dalí collection of the Japanese entrepreneur Teizo Morohashi, founder of the sporting-goods retailer XEBIO Corporation; it is the third largest Dalí museum in the world and the only one in Asia. The painting bears the Fundació Gala-Salvador Dalí catalogue raisonné number OE 727. Provenance: commissioned by the American Broadway impresario Billy Rose for the Ziegfeld Theatre in New York; lost in the April 1956 fire at Rose's country house in Mount Kisco, NY; repainted by Dalí from the insurance compensation in 1957 in his suite at the St. Regis Hotel, New York; subsequently sold by Rose; entered an unidentified American collection; then acquired by Pablo Escobar and held at his Medellín apartment, where it survived a 1988 car bombing; stolen in 1993 from the home of Escobar's sister-in-law by the vigilante group Los Pepes and later returned to Victoria Eugenia Henao, Escobar's widow; consigned anonymously to Christie's London auction in 1994, where Morohashi acquired it; donated by him to the museum)

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