Если вы отказываетесь изучать анатомию (Дали/Кожевников)
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| Язык оригинала: французский |
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Примечания
- ↑ If you refuse to study anatomy, the arts of drawing and perspective, the mathematics of aesthetics, and the science of color, let me tell you that this is more a sign of laziness than of genius. Diary of a Genius (1964) p. 81
- ↑ Begin by drawing and painting like the old masters. After that do as you see fit—you will always be respected. Diary of a Genius (1964) p. 82
- ↑ Don't bother about being modern. Unfortunately it is the one thing that, whatever you do, you cannot avoid. The Sayings of a Genius.
- ↑ No tengas miedo de la perfección, nunca la alcanzarás. /Don't be afraid of perfection, because you'll never achieve it. (unsourced) — Don't be afraid of perfection. You will never attain it! The Sayings of a Genius.
- ↑ If you are mediocre, even if you make a great effort to paint very very badly, people will still see you are mediocre. The Sayings of a Genius.
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"DON'T BE AFRAID OF PERFECTION. YOU WILL NEVER ATTAIN IT!" 611. SALVADOR DALI (1904-1989). Spanish surrealist painter and writer of dreamlike and hallucinatory images in the '30s and '40s. His style became more classical in the '50s as his work took on religious themes. TMsS, 1p, 10¼"x11¾", Paris, n.d. On Hotel De Crillon letterhead, the artist renders some philosophical musings entitled "The Sayings of a Genius." Among his nine points, "If you refuse to study anatomy, the arts of drawing and perspective, the mathematics of aesthetics, and the science of color, let me tell you that this is more a sign of laziness than of genius. / If you are mediocre, even if you make a great effort to paint very very badly, people will still see you are mediocre. / Down with lazy masterpieces! / No one - absolutely no one - is more astonished by the images which appear on my canvases than me. / The jealousy of other painters has always been the thermometer of my success. / Since early childhood, I have had the vicious turn of mind of considering myself different from ordinary mortals. Here, too, I am being successful. / Don't be afraid of perfection. You will never attain it! / Don't bother about being modern. Unfortunately it is the one thing that, whatever you do, you cannot avoid. / The only difference between a madman and my self is that I am not mad." Darkly signed.
Diary of a Genius (1964)
I categorically refused to consider the surrealists as just another literary and artistic group. I believed they were capable of liberating man from the tyranny of the “practical, rational world.”
I was going to become the Nietzsche of the irrational. Ever since the French revolution there has developed a vicious, cretinizing tendency to consider a genius (apart from his work) as a human being more or less the same in every sense as other ordinary mortals. This is wrong. And if this is wrong for me, the genius of the greatest spiritual order or our day, a true modern genius, it is even more wrong when applied to those who incarnated the almost divine genius of the Renaissance, such as Raphael. p. 1
The daily life of a genius, his sleep, his digestion, he ecstasies, his nails, his colds, his blood, his life and death are essentially different from the rest of mankind. p. 1
Democratic governments are not suited to the publication of the thunderous revelations I am in the habit of making. The unpublished parts will appear later … when Europe will have restored its traditional monarchies. p. 2
I was never capable of being an average pupil. I would either seem refractory to any teaching and give the impression of being completely dumb or I would fling myself on my work with a frenzy, a patience, and a willingness to learn that astonished everybody. But to awaken my zeal, it was necessary to offer me something I liked. Once my appetite had been whetted, I became ravenously hungry. pp. 5-6
I categorically refused to consider the surrealists as just another literary and artistic group. I believed they were capable of liberating man from the tyranny of the “practical, rational world.” I was going to become the Nietzsche of the irrational. I, the obsessed rationalist, was the only one who knew what I wanted: I was not going to submit to irrationality for its own sake, to the narcissist and passive irrationality others practiced. I would do completely the opposite. I would fight for the “conquest of the irrational.” In the meantime my friends would let themselves be overwhelmed by the irrational, succumbing, like so many others, Nietzsche included, to that romantic weakness.
p. 9
This book will prove that that the daily life of a genius, his sleep, his digestion, his ecstasies, his nails, his colds, his blood, his life and death are essentially different from those of the rest of mankind.
p. 11 - in: the Prologue of The Diary of a Genius
It is not necessary for the public to know whether I am joking or whether I am serious, just as it is not necessary for me to know it myself. p. 12
Someone like myself, who claimed to be a real madman, living and organized with a Pythagorean precision... p. 17
Surrealism in its early period offered specific methods to bring images closer to concrete irrationality. These methods, based on the exclusive passive and receptive role of the 'surrealist subject', are bankrupt and are giving way to new surrealist methods for the systematic exploration of the irrationa.. ..The new delirious images of concrete irrationality suggest their physical, real 'possibility'; they go beyond the domain of psycho-analysable fantasies and ‘virtual’ representations.. ..Against the dream memory and impossible, virtual images of purely receptive states that one can only recount, the physical facts of 'objective' irrationality with which one can already hurt oneself.
p. 23 - on new Surrealism techniques and methods.
Mistakes are almost always of a sacred nature. Never try to correct them. On the contrary: rationalize them, understand them thoroughly. After that, it will be possible for you to sublimate them. p. 26 The anagram 'Avida Dollars' was a talisman for me [referring to 'Divine Dali', so called by André Breton]. It rendered the rain of dollars fluid, sweet and monotonous. Someday I shall tell the whole truth about the way in which this blessed disorder of Danae was garnered. It will be a chapter of a new book, probably my masterpiece: On the Life of Salvador Dali, considered as a Work of Art [never written]. p. 35 Don’t bother about being modern. Unfortunately it is the one thing that, whatever you do, you cannot avoid. p. 42 July 1952/the 27th/This morning an exceptional defecation: two small turds in the shape of a rhinoceros horns. Such a scanty stool worries me. I would have thought the champagne, so alien to my routine, would have had a laxative effect. (DG p. 59) - the 29th/Because of a very long fart, really a very long, and let us be frank, melodious fart, that I produced when I woke up, I was reminded of Michel de Montaigne. (DG p. 60) - September 1952/the2nd/Again this morning, while I was on the toilet, I had a truly remarkable piece of insight. My bowel movement, by the way, was perfectly exceptional, smooth and odourless. pp. 59 – 64 And man’s highest mission on earth is to spiritualize everything, it is his excrement in particular that needs it most. As a result, I increasingly dislike all scatological jokes and all forms of frivolity on this subject. Indeed, I am dumbfounded at how little philosophical and metaphysical importance the human mind has attached to the vital subject of excrement. p. 65 (Dali's remark, in 1952) I think that the sweetest freedom for a man on earth consists in being able to live, if he likes, without having the need to work. p. 79 If you refuse to study anatomy, the arts of drawing and perspective, the mathematics of aesthetics, and the science of color, let me tell you that this is more a sign of laziness than of genius. p. 81 Begin by drawing and painting like the old masters. After that do as you see fit—you will always be respected. p. 82 Sleeping is a way of dying or at least of dying to reality, better still it is the death of reality, but reality dies in love as in dreams. The life of man is entirely occupied by the bloody osmosis of dreams and love. p. 126 In: L’amour; as quoted in Dali and Me. It is with Millet’s 'Angelus' that I associate all the pre-twilight and twilight memories of my childhood, regarding them as the most delirious, in other words (commonly speaking) poetic.. ..Most frequently, at the end of summer days, I would leave the streets of the town and go to the fields to listen to the sounds of insects and plunge into infinite reveries. p. 126 - (MTA), youth memories as a young boy, living in Spain 'Up there!'. Wonderful words! All my life has been dominated by these antagonisms: high and low. In my childhood I tried desperately to be high up. - There was nothing left between me and the void. I must have spent several minutes lying on my stomach with my eyes closed to resist its almost invincible attraction. - Most of my readers will have felt the sensation of suddenly falling into the void, just at the point when sleep is going to take them over completely. Waking up with a start, your heart convulsively trembling, you don’t always realise that this sensation of vertigo is a reminiscence of the expulsion of being born.. ..All those who throw themselves into the void have at bottom only one desire, to be reborn at any price. pp. 131-132 - (VSD), Dali's quotes on the void. Where is the real? All appearance are deceitful, the visible surface is deceptive. I look at my hand.. ..It is nerves, muscles, bones. Let us go deeper: it is molecules and acids. Further still: it is an impalpable waltz of electrons and neutrons. Further still: an immaterial nebula. Who can prove that my hand exists? pp. 133-134 - (VSD) It is difficult to hold the world’s interest for more than half an hour at a time.. ..I have been successful for twenty years, to the extent that papers publish the most incomprehensible new items of our time, sent by teletype: PARIS. Dali gave lecture at Sorbonne on Vermeer’s paintings ‘lacemaker’ and the rhinoceros… …NEW YORK. Dali landed in New York dressed in a golden space-suit. p. 171 Surrounded by countless people who murmur my name and call me 'maître', I am about to inaugurate the exhibition of my one hundred illustrations of the Divine Comedy at the Galliera Museum. p. 189 - Prologue
