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D A L I

The Lugubrious Game (Dismal Sport), 1929
Oil and collage on cardboard
17 1/2 x 11 5/6 inches (44.5x30cm)
Private Collection

The Lugubrious Game was painted during the summer of 1929. Dali had returned from filming Un Chien Andalou in Paris and his state of nervous exhaustion seems to have unleashed his latent
hysteria. He spent days seated before his easel, 'staring fixedly, trying to "see" like a medium .... the images that would spring up in my imagination'. The subject of this painting is again masturbation. The enlarged hand of the statue symbolizes onanism and the figure beneath, holding up a fossilized phallus, betrays the guilty secret. The cause of this practice is revealed in the delirium of sexual images which spiral upward in the center of the picture. A pair of female buttocks and legs rises out of the ground, curling biomorphically into a huge self-portrait head, a
grasshopper attached to the mouth. This image, a recurrent one in Dali's painting, refers to an incident in his childhood and epitomizes feelings of horror and revulsion. The object of these feelings is suggested by the vulva-shape passing across the head, which doubles as the ear of a rabbit, its eye also belonging to a parrot within the rabbit's head. Dali described these images as 'seething' beneath the skin while he was painting, this irritation being relieved only by feeling 'the protective ringer of my imagination scratch me reassuringly'. At the top of the head a hand performs this function. Issuing from the head is a whirlpool of erotic imagery linked by irrational association. A hand holds a cigarette and leads to a parrot's head. Alongside is a human face whose beard is parted to reveal the lips of female genitalia. This shape connects with the clefts in the hats above, which in turn merge with a collection of rocks and shells in which other images appear, a hallucinatory phenomenon which Dali experienced while walking on the beach at Cadaques. The rocks are linked to the breasts of a female torso, the arm becoming a phallic finger pointing toward an orifice surrounded by ants. The eye of the whirlpool is a vagina, the source of Dali's erotic fantasies and also of his fears. The consequences of masturbation are evoked by the figure at the right of the picture; employing the symbols of Freudian dream analysis, a bearded father figure holds a bloody handkerchief, suggesting castration, while supporting the victim of this mutilation.

This painting was the centerpiece of Dali's first one-man show at the Galerie Goemans in Paris in November 1929.

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