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D A L I
Invisible Sleeping Woman, Horse, Lion is one of three versions of this subject, each with the same title, which Dali executed during the summer of 1930. Following the experiments he had begun in The Invisible Man, this trilogy of paintings reflects Dali's observation that 'the double image may be extended, continuing the paranoiac advance, and then the presence of another dominant idea is enough to make a third image appear . . . and so on, until there is a number of images limited only by the mind's degree of paranoiac capacity'. A sequence of contemporary sketches depicting the transformation of a woman into a horse and then into a lion reveals that Dali had plans for realizing this paranoiac advance cinematically. This never happened, however, and in the paintings the technical complexity generated by this aim means that, rather than experiencing a succession of independent images, the viewer is confronted with a single composite form. Despite Dali's claim that he obtained 'the image of a woman, whose position, shadow and morphology, without altering or distoring her real aspect, is at the same time a horse', both forms have been modified in order to suggest alternative readings. The posture of the reclining woman and the associaton of this image with that of a horse would seem to have been inspired by The Nightmare (1781) by Johann Fuseli, a painter whom the Surrealists regarded as a precursor. Fuseli's painting depicts a sleeping woman and an equine apparition. Dali's conflation of these two forms into a single image first appeared in the background of The Invisible Man, In Invisible Sleeping Woman, Horse, Lion, the lower part of the woman's body also merges into the depiction of a lion, its head and mane readable as the horse's tail. This version is the larger of the surviving pair of paintings, the third having been destroyed by demonstrators when it was displayed in the lobby of 'Studio 28' during a showing of L'Age d'Or in December 1930.
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