50 Secrets of Magic Craftsmanship by Salvador Dali

By Salvador Dali

Rare, vital quantity within which famed Surrealist expounds — in his inimitably eccentric model — on what portray will be, the heritage of portray, what's reliable and undesirable portray, the advantages of particular artists, and extra. comprises his 50 "secrets" for studying the craft, together with "the mystery of the painter's pointed mustaches."

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Leave your brushes reposing on the table! For before I will allow you to use them I must enlighten you on other astonishing matters. Know, then, that Secret Number 3 is that in undertaking an important pictorial work which you are anxious to bring to a successful completion and on which your heart is particularly set, you must before anything else begin it by sleeping as deeply, as soundly as it is possible for you to do. This is absolutely necessary, for without this inaugural sleep you almost surely run the risk that your work will be undertaken prematurely, so that the impatience and the nervous strain involved in the project will make you, so to speak, start on the wrong foot—which is almost the worst thing that could happen to you at the outset.

Comparative Table of the Values After Dalinian Analysis Elaborated During Ten Years CHAPTER TWO Description of each of the five different movements corresponding to each of the five different types of brushes–Of the position and the springboard necessary to effect blending with the fan-shaped brush–Treatise on the painter's slumbers–Of the sleep called the “slumber with a key"–The slumber obtained from sea urchins and the slumber with three cooked sea perch eyes–Of the sympathy and antipathy of things in nature and in the painter's eye–Of how and with what the painter's eye must be nourished–Of the diverse reasons why painters are produced only in certain countries–Of what kind of vegetation the painter must plant around his studio.

In 1936, in Paris, I visited an exhibition of so-called abstract painting in the company of the late Maurice Heine, the erudite specialist on the Marquis de Sade, and he noticed that during the whole visit my eyes kept coming back to a corner of the exposition room in which no work was being exhibited. ” “It's nothing invisible,” I replied to reassurehim, “I just can't help looking at that door—it is so well painted. " This was rigorously true. None of the painters who had hung their canvases in this room would have been capable of painting that door.

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