By Federico Zeri
The endurance of reminiscence (Spanish: l. a. persistencia de los angeles memoria Catalan: los angeles persistència de l. a. memòria) is a 1931 portray by means of artist Salvador Dalí, and is one among his such a lot recognizable works. First proven on the Julien Levy Gallery in 1932, the portray has been within the selection of the Museum of recent artwork (MoMA) in ny urban due to the fact 1934 which bought it from an nameless donor. it really is well known and often referenced in pop culture.
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Additional info for Dali - Persistenza della memoria
8, No. 4, 1990, p. 20. 2. The artist’s commentary in “’Toshiko Takaezu: At Home,’ an Exhibition of the Work of Toshiko Takaezu held at the Hunterdon Museum of Art, Clinton, NJ, August 2-October 11, 1998,” Studio Potter, Vol. 27 No. 2, June 1999, p. 52. 3. John Perreault, “Toshiko Takaezu: Truth in Clay,” in Toshiko Takaezu: Heaven and Earth, Racine, WI: Racine Art Museum, 2005, p. 6. 4. Marcia Morse, “Finding the Center: The Art of Claude Horan” in Claude Horan: A Retrospective of Ceramic Works, Honolulu: The Contemporary Museum and the Koa Gallery at Kapi’olani Community College, 2004, p.
Her paintings at first look entirely abstract. “Makaha Blue” (fig. 24) presents a mass of her favorite intense blue on the left, invaded and disrupted by a dark blue-black in nearly savage lines that dominate the right half. The title may refer to the Makaha Beach on Oahu, a site of big-wave surfing, perhaps implying the turbulence of the waves or perhaps just alluding to the hue of the tropical water. A painting more explicitly named “Pacific Ocean” includes the same blue, along with considerably moodier charcoal, white, olive, and orange.
If the walls are too thin, the pot will collapse; if there is too much clay, the shape will lose its delicacy. To help prevent the pot from collapsing, she closes the shape entirely, so that the enclosed air will act as a support to the wet clay which is suspended almost horizontally across the top of the form. ”23 These works are sometimes shown in groups (continuing her interest in quantities of things) on a bed of gravel, or each suspended in its own knotted hammock (fig. 19). In both cases they are understood as objects, not as images or illusions.
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