The on provide a collection of special materials that shed light on this element of Dalí’s art. Incorporated into these products tend to be a graphic poster in classic ’60s bubble letters announcing a jewelry event in 1969, an article cutting printed November 13th, 1949 inside Sunday Mirror Magazine and invitations spanning the 1950s-1970s inviting clients to attend Dalí’s jewels events.
Through these products it becomes obvious that Dalí wished these actively works to be viewed artwork in their own right. His work with jewels merely presents an expansion of his creative vision to brand new news.
Theses pieces in addition represent collaborations between Dalí and New York precious jewelry artisans, especially aided by the studio for the Argentine-born silver/goldsmith Carlos Alemany. Dalí would draw detailed sketches of his designs and would specify the jewels and gold and silver coins that might be made use of. These were not merely selected by shade but additionally on their symbolic meanings. The designs would then be performed considering Dalí’s guidelines in Alemany’s studio. Both Dalí and Alemany held the same philosophy on precious jewelry production that highlighted the necessity of design and building. The value associated with the individual valuable rocks and metals are, indeed, additional into meticulous design and intricate composition of those jeweled works.
Each jewel encrusted piece out of this collection is meant to symbolize a sort of transformation or metamorphosis. Dali, “My art – in painting, diamonds, rubies, pearls, emeralds, gold, chrysolite – prove how metamorphosis happens; people develop and alter. Once they sleep, they change totally – into plants, plants, trees. The new metamorphosis happens in paradise. The body becomes once more entire and reaches excellence.”
Salvador Dalí’s sculptures tend to be showcased within the event at Hirshhorn Museum and Sculpture outdoors, on view from October 2015- February 2016.