The Anatomical Art of Salvador Dali 1

July 28, 2017 11:09 amJuly 15, 2020

There are few, if any, people interested in modern art that will not recognise the name Salvador Dali. Now, nearly thirty years after his death, he is considered one of the most important and influential artists of the 20th Century and is lauded for revolutionising the way we think about painting and art. In his paintings, the human body figures extensively and was used over and over again in a variety of innovative ways. Here we take a look at some of his most important anatomical art, and consider how and why Dali used the human form so much in his work.

As we shall see below, the anatomy as represented visually by Dali was heavily influenced by the medical and scientific thinking of the day, and the morbid fascination brought on by the horrors of World War II, and later the atomic age.

All images courtesy of WikiArt.org

The Anthropomorphic Cabinet – 1936

Dali was fascinated with psychoanalysis and the ideas of Sigmund Freud, arguing that it was he who discovered that the human body ‘is nowadays full of secret drawers that only psychoanalysis is capable to open.’ This idea is realised in Dali’s painting The Anthropomorphic Cabinet, where the famous ancient sculpture Venus de Milo was adapted to become a human chest of drawers, or perhaps more accurately in terms of Dali’s art, a cabinet was adapted to take on a human form. This painting was preceded by Dali’s similarly themed Atmospheric Chair, in which abstract, but possibly human, shapes emerge from a cabinet.

Soft Construction with Boiled Beans (Premonition of Civil War) – 1936

Dali Soft Construction

Salvador Dali often seemed to use the human form and its distortions to reflect on the important contemporary issues of his time. Soft Construction with Boiled Beans seems to be one such painting. A commentary on the horrors and difficulties of the Spanish Civil War, in which Dali and many of his friends found themselves caught up, the painting attempts to visualise the destruction of the conflict by creating an equally monstrous human form. Dali himself declared that the diabolical head displayed in the painting was inspired by Francisco Goya’s painting Saturn Devouring His Son.

Metamorphosis of Narcissus – 1937

Dali Narcissus

One of Dali’s more famous paintings, Metamorphosis of Narcissus plays with the idea of ego, self-love and the Ancient Greek myth from which narcissism derives its name. The story revolves around Narcissus falling in love with his own reflection in a lake and eventually being immortalised by the Gods in the form of a flower. In Dali’s painting, the human form is contrasted with a similarly shaped rock formation that can also be easily interpreted as a stony hand from which a flower grows. The painting had a great impact, with it being shown to Freud himself, and with Dali’s own secretary, the photographer and author Robert Descharnes, arguing that it meant a great deal to the artist as well.

The Face of War – 1940

Dali The Face of War

Another Dali painting inspired by the brutalities of war, The Face of War was finished between the end of the Spanish Civil War and the start of the Second World War. It portrays a decaying face, perhaps that of a corpse, that contains identical faces in its eye sockets and mouth. These smaller faces also contain the same face in their eyes and mouth, suggesting that this process goes on forever in an infinite regress. On the topic of the painting, Dali wrote in his Diary: ‘Not a single minute of my life passes without the sublime Catholic, apostolic, and Roman spectre of death accompanying me even in the least important of my most subtle and capricious fantasies.’

Galatea of the Spheres – 1952

Dali Spheres

As one of Dali’s later paintings, Galatea of the Spheres reconciles Dali’s unique surrealist style with the new science and ideas emerging in the middle of the 20th Century. Fascinated by the atom and nuclear physics in the wake of the first dropping of the atomic bomb in 1945, Dali sought to create a piece of art that reflected the idea that the entire universe was made up of atoms, between which there was a great deal of space or emptiness, and created this portrait of his wife in response. Also influenced by classical mythology, the painting appears to be one of Dali’s more straightforward to interpret, but is no less impressive for the fact.

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1 Comment

Emma says:

February 15, 2018 at 9:06 am

Thank you! Very useful!

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An Interview with Sarah Jones, author of ‘Funerals, Your Way’ 0

November 9, 2018 10:49 amJuly 15, 2020

A wicker coffin decorated with flowers by the team at Full Circle Funerals

We’re all going to die. Not right away (let’s get that clear – we’ve not spotted a large comet hurtling towards Earth) but, like it or not, death comes to us all.

We don’t talk about it, though. And since we don’t talk about death, the majority of people who are arranging a funeral for the first time are blindsided by the sheer number of decisions they have to make, often about things they’ve never considered.

Perhaps you know whether the person who died wanted to be cremated or buried – but did you ever ask them about what they’d want to be wearing when it happened? Are they a wicker coffin sort of person, or is veneer wood better? Funeral planning involves a host of bewildering questions that most of us are unprepared for.

Funeral director Sarah Jones of Full Circle Funerals wants to change that. Her new e-book, Funerals, Your Way, offers families a gentle yet thorough introduction to the many options available to them, and a framework for approaching difficult decisions with their loved one’s wishes and personality in mind.

Ahead of the launch of the book, we caught up with Sarah to talk about how it came about and why the “person-centred approach to planning a funeral” is the future…

Hi Sarah! How did you become a funeral director?

We opened Full Circle Funerals in September of 2016, but I’d decided about a year before that that was what I wanted to do. I started my working life as a doctor in the NHS, doing vascular surgery. I left that role to work with adults with learning difficulties.

The simple reason for opening Full Circle is that, throughout my work in health and social care, I’ve always felt that end of life care and funerals are really important. And that if they’re done well, that it could probably make a really big difference to bereaved families.

I felt that it was something it was important to do well and do right, and I was quite clear in my mind about what I thought that would involve. So, I decided to do it.

What inspired you to write Funerals, Your Way?

I think the more people know before they walk into a funeral director, the better.

Every day, in our work, we support families, and it’s so obvious and so clear that giving them a little bit of information and time, and expanding on the ideas they’ve already got, is incredibly helpful to people. Opening up a space where they can confidently feel that they can explore what they want and what they need can make a real difference.

A lot of people walk into the room and they have never thought about it before. It’s something they haven’t even wanted to engage in: they’re bewildered, they’re confused, and they’re vulnerable. I think it’s so easy to address that knowledge imbalance and power imbalance, so that families can go into the arrangements knowing what questions they need to ask, having gathered their thoughts.

How you would like families to use your book?

Ideally, I think everybody should just read it, randomly, as a book, rather than being in a situation where they’re having to apply it to a person in their lives, or themselves. That way they’re not stressed, and they can take their time to consider it.

Another way it could help is if families read it when they know that they are going to need to arrange a funeral in the coming weeks and months, so they’re preparing themselves.

We are also approached by quite a lot of people who want to plan their own, particularly younger people. So, I think it could be something they read relatively privately, and then when they’ve gathered their thoughts, then they can engage in that difficult conversation with the people in their family.

In the book, you talk about taking a “person-centred approach to funerals”. What does that mean to you?

I come from a background in health and social care, where everything should be person-centred. You effectively have a group of professionals and a process that is centred around the individual. And you’re collaborating with that individual, giving them what they need to optimise their health and care.

That principle, to me, feels very, very important for funerals. The person who has died – do you want the funeral to reflect that person? And then you also have the people close to them, who maybe need to get something helpful from the process of arranging the funeral and the funeral itself – how do you support them?

So, I suppose my logic was just to highlight the people at the centre of all of this. I think funerals should be person-centred, and that person should not be the funeral director or a representative from the industry.

Do you see that perhaps as something that some in the industry need to work on?

Everyone I have met seems to be trying to do their best, and we’re all trying to achieve the same thing. Which, broadly speaking, is better, more consistent, personalised care for people at the end of their lives and at funerals.

I believe that the way to achieve that is to increase knowledge amongst the general public and to therefore increase people’s expectations. I think that that’s actually the only way that you can fundamentally change funeral care.

So, my emphasis is on just trying to just slowly work away, in my own very tiny way, at changing people’s expectations of how good a funeral can actually be, and how helpful it can be. And giving them the information that they need to make that happen.

Funerals, Your Way is available to buy from Full Circle Funerals here. All proceeds go to support the Leeds Bereavement Forum and local hospices.

Four of Our Favourite Morbid Museums 0

July 26, 2017 10:09 amJuly 15, 2020

The term ‘morbidly fascinating’ is one that we use often and apply to a great many things – both to people and to phenomena. It’s probably also the most succinct and suitable description available for four of our favourite museums.

The Hunterian, the Morbid Anatomy Museum, Bodyworlds and the Museum of Mummies all tackle the issue of death in a different way – whether it’s in terms of preservation techniques, anatomy or artistic representation – and are some of the most interesting and perhaps controversial museums in the world.

While many of the exhibitions may not be to everyone’s taste, they provide us with an opportunity to face death and to recognise the fact of human mortality in a visceral and unflinching manner, while often teaching us a great deal about the human body, societal attitudes towards death and our own ability to talk about the issue. Here we take a look at what makes each of the four museums worthy of a visit.

Hunterian – London, UK

Often referred to as ‘the weirdest museum in London’, The Hunterian is based in the Royal College of Surgeons near Holborn and contains a fascinating array of anatomical specimens. Centred around John Hunter’s large collection of skeletons, skulls, organs and diseased body parts, over the years the museum has expanded its collection to include surgical instruments and anatomy tables. It has developed a large and loyal following, most of whom appreciate the free entry and weird and wonderful exhibitions always on offer.

While it has its origins in the government purchase of the famous scientist and surgeon’s specimens in 1799, the Hunterian has made a number of important acquisitions over its lifetime, most notably in its odontological department and with Richard Owen’s natural history collections. It is home to the skeleton of the famous ‘Irish giant’ and the historically important Evelyn tables and the museum has committed to the development and renovation of the building in which it is housed.

In May 2017, the Hunterian closed for a three year period in order to perform necessary repairs and modernisation works. It is scheduled to reopen in 2020.

Find funeral directors in London.

Morbid Anatomy Museum – Brooklyn, USA

Located in Brooklyn, New York, the Morbid Anatomy Museum was the brainchild of Joanna Ebenstein and Tracy Hurley Martin, two individuals who discovered they shared a passion for the macabre and morbid and decided to act on it.

While the idea was first realised as a blog and then a library, it finally became a fully-fledged museum space in 2014, complete with lecture space, café and shop. Dedicated to the strange and surreal, the museum houses a collection of death related curiosities and exhibits ranging from Victorian taxidermy and preserved insects to antique medical contraptions.

The Morbid Anatomy Museum hosts regular death cafes. For more about death cafes, check out our piece.

Bodyworlds – Berlin, Germany

Though going to visit a museum exhibition curated by someone commonly referred to as ‘Dr. Death’ may not seem like everyone’s idea of a great day out, the Body Worlds permanent exhibition in Berlin’s Menschen Museum has attracted an incredible number of visitors over the last few years.

The museum has attracted its fair share of controversy (it faced a court battle over the legality of its displays in 2014), but it has also become one of the most famous anatomical exhibitions ever, bringing enthusiasts to Berlin from all over the world.

Consisting of 20 human bodies, each posed in a different position and performing various activities and tasks, Body Worlds is famous for the way each of these models has been skinned and preserved, revealing all of the internal detail we never get to see, from the capillary structure to the musculature. While not for the faint-hearted, Body Worlds provides us with a fascinating glimpse inside the human body, both in life and death.

Museum of Mummies – Guanajuato, Mexico

With over 100 mummified bodies on permanent display, the Museum of Mummies in Guanajuato, Mexico, is often labelled the most morbid museum in the world. While some minor embalming techniques were used to prepare the bodies, it’s actually the climate of the region that causes most of the mummification process, meaning the museum doesn’t have to go far to find its exhibits. In fact, nearly all of the mummies on display have been disinterred from the cemetery next to the museum and include a diverse array of individuals, including infants, Inquisition victims and criminals.

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