The first major exhibition to reevaluate the last half of Salvador Dalí’s career will be presented exclusively at the High Museum of Art on August 7th.
Comprising more than 40 paintings and a related group of drawings, prints and other Dalí ephemera, “Salvador Dalí: The Late Work” will also explore the artist’s enduring fascination with science, optical effects and illusionism as well as his connections to such artists of the 1960s and 1970s as Andy Warhol, Roy Lichtenstein and Willem de Kooning.
Among the highlights of the exhibition will be several works that have not been seen in the U.S. in 50 years, including the monumental “Christ of St. John of the Cross,” and “Santiago El Grande,” which has not left New Brunswick, Canada, since 1959. Designed as an altarpiece, this painting includes Dalí’s vision of the Crucifixion, an homage to Saint James (the patron saint of Spain) and an atomic explosion. The exhibition will also feature “Assumpta Corpuscularia Lapislazulina,” from a private collection in Spain, which has not been seen publicly since 1959.
“Dalí’s art after 1940 continues to be highly controversial due to his perceived reactionary politics, unabashed commercialism, and conservative mode of representation,” said Elliott King, guest curator for the exhibition and Dalí scholar. “Critical understanding of these issues has changed over the past fifty years, and where Dalí was once deliberately out of step with modern art, today we can look back on his ‘late’ work and appreciate its innovations and antecedence to more contemporary concerns. If we move beyond Dalí’s veneer of self-promotion or, better still, understand it as integral to his artistic project, the work can be recognized as some of the most intelligent and dynamic of the twentieth century.”