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D A L I
The Enigma of Desire: My Mother, My Mother, My
Mother, 1929 In this work Dali focuses on and embellishes the cause of his sexual neurosis using his knowledge of Freudian psychoanalytical theory. As in The Great Masturbator , a self-portrait head grows out of an ornamental form reflecting Dali's admiration for Art Nouveau. Also attached to the head is an enormous biomorphic shape, within which are a number of recessed cavities, some containing the inscription 'ma mere', its repetition suggesting the obsessive nature of this thought. This large form is in turn linked to the lion's head motif, symbol of terrorizing sexual desire. Two large cav- ities pierce the form. Through one a rocky outcrop beyond is visible and a hole driven, in turn, through this reveals a naked female torso behind it. The outline shape of the other cavity suggests the interlocking of two facial profiles which appear to kiss. The presence of these images invests the idea of his mother with erotic significance, transforming this painting into a symbol of Oedipal desire. Its Freudian nature is developed in the group at the left of the picture. Two figures embrace and are conjoined with another lion's head, a grasshopper and a hand clasping a knife. This conflation of images suggests the consequence of Oedipal desire: paternal love, transformed by awareness of its offspring's aberrant passion into the horrific threat of castration. This work represents Dali's success in transferring the technique of meticulous realism to a large canvas so that irrational thoughts are rendered with the cogency of photography. One of eleven paintings exhibited at the Galerie Goemans in November 1929, it was purchased by the Viscount of Noailles, who also bought The Lugubrious Game. When it was sold in May 1982 it realized £453,600, a record at that time for a living painter.
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