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D A L I
Atavistic Vestiges After the Rain, 1934 Atavistic Vestiges After the Rain relates, like The Architectural Angelus of Millet , to Dali's description of his hallucinatory experience at Cape Creus which continued: 'Several details of the two figures had been effaced by erosion, which contributed to make their origin seem to date back to a long bygone era, contemporary with the origin of the rocks themselves. It was the man's figure that had been most deformed by the mechanical action of weathering; practically nothing remained of him except the vague and formless block of the silhouette, which thus became fraught with a terrible and particular anguish'. The title of the painting refers to the way the peasants from Millet's The Angelus have been turned into menhirs, ancient monumental stones. This reflects Dali's conviction that Millet's figures are atavistic, their paranoiac association with sex and death relating to forces which have existed in the human psyche from earliest times. As in Dali's description, the male menhir is a vestige; only a small point ris- ing from the ground remains. The female stone dominates, its body pierced by a cavity as was the male's previously. This conflation of forms suggests that the female has devoured the male, thus realizing Dali's 'false memory' of his mother and the cannibalistic threat he perceived in Millet's painting. The scene is again witnessed by Dali and his father, the latter pointing to the rock at the right of the picture which has assumed the profile of a face. Beyond are the two cypresses which Dali contemplated as a child through the window of the classroom of the Christian Brothers' School at Figueras. He remembered that these 'seemed to burn in the sky like two dark flames'.
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