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D A L I
Portrait of Gala, 1935 Here the phenomenon of the association of elements by repetition of their shape is bound up with Dali's paranoiac interpretation of Millet's The Angelas . A version of the Millet painting appears on the wall behind Gala's head, modified so that the two peasants are shown sitting on the wheelbarrow. In other respects the figures have not been changed dramatically. The man sits with his head bowed, still covering his sexual parts with his hat. The woman is shown in profile as in the original; her hands are raised in a more exaggerated manner so as to evoke more overtly the attitude of the praying mantis. This situation is repeated in the space in front of the picture. Gala is shown facing forward and, like the male peasant in the picture behind her, she is seated on a wheelbarrow with her hand clasped on her lap. Simultaneously, she is shown with her back to the viewer, as if facing her other image and looking into the picture. Her depiction in this way connects her with the viewer in the real world as well as linking her with the relation of the figures in the picture on the wall. Thus three levels of reality are invoked and associated. Small in scale, this picture is notable for the meticulous photographic precision of its technique, which heightens our sense of the reality of the image, while also confounding our concept of what is 'real'.
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