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D A L I

 

The Architectural Angelus of Millet, 1933
Oil on canvas
28 1/4 X 24 inches (73x61 cm)
Hanover Gallery, London

The Architectural Angelas of Millet is one of three paintings, related in their interpretation of Millet's The Angelas, which Dali executed between 1933 and 1935. The other two are Atavistic Vestiges After the Rain, 1934 , and Archaeological Reminiscence of Millet's Angelus, 1933-35 (page 64). All these works were inspired by an experience which Dali described in The Tragic Myth of Millet's Angelus (1938): 'During a brief fantasy to which I surrendered myself on an excursion to Cape Creus [located in the northeast part of Catalonia], whose mineral landscape constitutes a veritable geological delirium, I imagined sculptures of the two figures in Millet's Angelus carved into the highest rocks there. Their spatial positions were the same as those in the painting, but they were completely covered with fissures'.

The Architectural Angelus of Millet depicts the transformation of Millet's peasants as a result of this paranoiac association. Both figures have been turned into tall monumental stones, whose biomorphic shape recalls their previous identity. The 'male' stone towers over the female, its body pierced by a cavity, as in The Atavism of Dusk. Dali's further association of the two laborers in Millet's painting with Lautreamont's 'chance encounter of a sewing machine and an umbrella' is evident in the needle-like form which grows from the 'female stone', reflecting Dali's paranoiac notion of 'the sewing machine - well known as a female symbol'. This stone is supported on a crutch, symbolizing death, as it attempts to pierce the other, 'the activity of which may be identified with the superfine perforation of the praying mantis 'emptying' her male that is to say emptying her umbrella, transforming it into that tormented, flaccid and depressive victim which every closed umbrella becomes after the magnificence of the amorous, paroxysmal, extended functioning which it recently displayed'.

Beneath and dwarfed by the stones stand two figures, the infant Dali and his father, an allusion to the grip which Millet's figures had on Dali's imagination from his earliest years.

 

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