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Dali’s Optical Illusions Dawn Ades

Dali’s Optical Illusions Dawn Ades, фото 1
Dali’s Optical Illusions Dawn Ades, фото 2Dali’s Optical Illusions Dawn Ades, фото 3
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Dali’s Optical Illusions Dawn Ades
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В наличииDali’s Optical Illusions Dawn Ades
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Dali’s Optical Illusions Dawn Ades, ed. New Haven, CT: Yale University Press, 2000. Pages: 196.

ISBN 0-300-08177-4.

In 2000, the Wadsworth Atheneum Museum of Art in Hartford, Connecticut organized a show of 71 of Salvador Dali’s works involving optical illusions. The show subsequently traveled to the Hirshhorn Museum and Sculpture Garden in Washington, DC, and the Scottish National Gallery of Modern Art in Edinburgh.

Salvador Dali (1904–1989) was born in Figuras, Catalonia, Spain, and studied in Madrid. The events of the Spanish Civil War figured prominently in his life. Dali resided in the United States from 1940 until 1948 before returning to Spain.

The catalog presents 51 color reproductions on separate pages with additional details of seven of the reproductions. There are 16 reproductions of monochromatic works, 3 photographs of his sculptures, and one reproduction of his photographs. There are four essays: one by the editor discussing Dali’s optical illusions; one by the Director of the Wadsworth Atheneum relating Dali’s work to others; one discussing Dali’s association with the Atheneum beginning in 1931; and one relating Dali’s career to his time. These essays are illustrated with 23 color reproductions and 45 monochromatic reproductions.

Miles Unger reviewed the show elegantly, 1 but there are some points of interest to optometrists that he did not emphasize.

1. Three pairs of the paintings (Figures 62 to 67) are designed for viewing with Wheatstone or Brewster stereoscopes. One pair (Figures 66 and 67) fuses for a central abstract pattern but rival in the periphery.

2. Four paintings are in the style of Rubin’s duck-rabbit 2 or Boring’s mother-daughter illusions. 3 When these double images are viewed through a blurring lens, a face emerges from the unrelated details of the painting (Figures 31 to 35, 38, and 44).

3. Unger has discussed Dali’s use of anamorphosis, the reproduction of an image distorted in a mirror (Figures 9, 13, 14, 17, 18, and 20). Unger comments that “seeing is as much an act of invention as discovery.”

The lecturer eager for refreshing alternatives to optical illusion illustrations presented too often may want to turn to Dali’s colorful paintings.

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