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D A L I

The Weaning of Furniture - Nutrition, 1934
Oil on panel
7 x 9'/2 inches (17.8x24.1 cm)
Collection of Mr and Mrs A Reynolds Morse,
on loan to Salvador Dali Museum,
St Petersburg, Florida

This painting represents a further variation in the capacity of the paranoiac critical method to 'interpret' reality by establishing irrational connections between disparate elements. Unlike Dali's
development of the double and multiple image, in which several elements may be recognized within a single configuration, here the same configuration is repeated in various parts of the canvas but with different visual significances. As a result associations are made between disparate objects on the basis of repetition of outline or form. Dali developed this aspect of paranoiac-critical activity in a number of other works, particularly Paranoiac Critical Solitude, 1935 , Suburb of the Paranoiac-Critical Town, 1936, Swans Reflecting Elephants, 1937 , and Metamorphosis of Narcissus, 1937.

The setting for this painting is the bay of Port Lligat. The figure seated in the foreground and seen from behind has a composite identity. The woman is Llucia, Dali's childhood nurse, who was notable for her 'immense stature'. At the same time her posture refers specifically to a 'false childhood memory'; while playing with a friend Dali hid behind the back of the large nurse seated on the ground and recalled experiencing the hallucination of the nurse's back being transpierced as if by a window. Dali has depicted this experience in the painting and embellished it by the processes of paranoiac logic. The night table, by virtue of its outline shape, appears to have been formed from the nurse's body. A smaller cabinet, on which a bottle of wine stands, seems in turn and for the same reason to have been formed from the larger cupboard. This again manifests the paranoiac phenomenon of flesh being transformed into inert objects. The implication is that the wine bottle is associated with the nurse's breast and has been formed from it. This connection completes the circle of association by returning to Llucia who was Dali's wet nurse; hence the nutritive quality of the furniture expressed in the title.

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