La tentacion de san antonio dali

La tentacion de san antonio dali

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En el cuadro se muestra a san Antonio Abad en un desierto, arrodillado y sosteniendo una cruz hecha con dos varitas para protegerse de las tentaciones que lo atacan, con el antiguo gesto del exorcismo. Estas son representadas por un caballo y una fila de elefantes, todos estos con sus patas alargadas de forma grotesca y cada uno cargando con una tentación.
Exposición sobre Dalí en Londres. En primer término hay una escultura de un elefante de patas alargadas con una pirámide en el lomo, idéntico a uno de los que aparecen en el cuadro. Al fondo se encuentra el London Eye.

the temptation of st anthony dali analysis

The Temptation of St. Anthony is a painting by Spanish surrealist artist Salvador Dalí. Painted in 1946, it is a precursor to the body of Dalí’s work commonly known as the «classical period» or the «Dalí Renaissance».
Dalí painted The Temptation of St. Anthony in 1946, in response to a contest held by the David L. Loew-Albert Lewin film production company for a painting of The Temptation of Saint Anthony,[1] to be used in the film The Private Affairs of Bel Ami. This was the only art contest in which Dalí participated, and the painting chosen for the film was Max Ernst’s version of the temptation.
The painting contains many surrealistic elements typical of his work. Significantly, it was the first of his pieces to exhibit his interest in the intermediates between Heaven and Earth.[2] The painting is now at the Royal Museums of Fine Arts of Belgium, in Brussels, Belgium.[3]
Artists and authors have long represented the temptation of St. Anthony in their art. The Temptation of St. Anthony is painted with oil on canvas. It depicts a desert-like landscape: a low horizon line with high clouds and dark, warm tones in an azure sky. The figure of St. Anthony kneels in the bottom left corner. He holds up a cross in his right hand and with his left hand supports himself on an ambiguous form. A human skull lies by his right foot. A parade of elephants led by a horse approach St. Anthony. The elephants carry symbolic objects representing temptation: a statue of a nude woman holding her breasts, an obelisk, a building complex confining a nude, disembodied female torso, and a vertical tower. The animals have exaggerated, long, spindly legs, making them appear weightless.[citation needed]

the temptation of st. anthony (dalí) dimensions

The Temptation of St. Anthony is a painting by Spanish surrealist artist Salvador Dalí. Painted in 1946, it is a precursor to the body of Dalí’s work commonly known as the «classical period» or the «Dalí Renaissance».
Dalí painted The Temptation of St. Anthony in 1946, in response to a contest held by the David L. Loew-Albert Lewin film production company for a painting of The Temptation of Saint Anthony,[1] to be used in the film The Private Affairs of Bel Ami. This was the only art contest in which Dalí participated, and the painting chosen for the film was Max Ernst’s version of the temptation.
The painting contains many surrealistic elements typical of his work. Significantly, it was the first of his pieces to exhibit his interest in the intermediates between Heaven and Earth.[2] The painting is now at the Royal Museums of Fine Arts of Belgium, in Brussels, Belgium.[3]
Artists and authors have long represented the temptation of St. Anthony in their art. The Temptation of St. Anthony is painted with oil on canvas. It depicts a desert-like landscape: a low horizon line with high clouds and dark, warm tones in an azure sky. The figure of St. Anthony kneels in the bottom left corner. He holds up a cross in his right hand and with his left hand supports himself on an ambiguous form. A human skull lies by his right foot. A parade of elephants led by a horse approach St. Anthony. The elephants carry symbolic objects representing temptation: a statue of a nude woman holding her breasts, an obelisk, a building complex confining a nude, disembodied female torso, and a vertical tower. The animals have exaggerated, long, spindly legs, making them appear weightless.[citation needed]

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La pintura muestra un elevado nivel de perfección técnica, donde lo mas importante es su sentido onírico. El autor sabiéndose altamente reconocido, parece buscar la provocación en su propia excentricidad.
Bajo la proyección de un cielo azul claro, con discreto brillo del Sol, se puede observar en el extremo inferior izquierdo de la pintura a san Antonio Abad en un desierto, arrodillado y sosteniendo una cruz hecha con dos varitas para protegerse de las tentaciones que lo atacan, con el antiguo gesto del exorcismo. Estas son representadas por un caballo y una fila de elefantes, todos estos con sus patas alargadas de forma grotesca y cada uno cargando con una tentación.
En el paisaje desértico, se pueden observar dos figuras humanas, una sosteniendo una cruz y la otra dirigiéndose hacia ésta, también se observa, al fondo, la representación de un padre que lleva de la mano a su hijo. Un ángel blanco vuela sobre el desierto.

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