Salvador Dalí Quotes

It is a question of the systematic and interpretive organization of the sensational, scattered and narcissist surrealist experimental material, - that is to say, of everyday surrealist events:,br>nocturnal pollution, false recollection, dream, diurnal fantasy, the concrete transformation of nocturnal phosphene into a hypnagogic image or of "waking phosphene" into an objective image, - the nutritive caprice, - inter-uterine claims, - anamorphic hysteria, - the voluntary retention of the urine, - the involuntary retention of insomnia - the fortuitous image of exclusively exhibitionist tendency, -the incomplete action, - the frantic manner, - the regional sneeze, the anal wheelbarrow, the minimal mistake, the liliputian malaise, the super-normal physiological state, - the picture one leaves off painting, that which one paints, the territorial ringing of the telephone, "the deranging image", etc., etc.,
all these things, I say, and a thousand other instantaneous or successive sollicitations, revealing a minimum of irrational intentionalety or, on the contrary, a minimum of suspect phenomenal nullity, are associated, by the mechanisms of paranoiac-critical activity, in an indestructible delirious-interpretive system of political problems, paralytic images, more or less mammiferous questions, playing the role of the obsessing idea.

So, André Breton, if tonight I dream I am screwing you, tomorrow morning I will paint all of our best fucking positions with the greatest wealth of detail.

I have always been an anarchist and a monarchist.

If you understand your painting beforehand, you might as well not paint it.

The fact that I myself, at the moment of painting, do not understand my own pictures, does not mean that these pictures have no meaning; on the contrary, their meaning is so profound, complex, coherent, and involuntary that it escapes the most simple analysis of logical intuition. To describe my pictures in everyday language, to explain them, it is necessary to submit them to special analyses and preferably with the most ambitiously objective scientific rigour possible. Then all explanation arises a posteriori; once the picture already exists as phenomenon.

Netikiu, kad autobusų vairuotojai neturi vaizduotė ir kad kartais netrokšta važiuodami prošal išdaužti „Prisunic“ vitriną ir paskubomis pagriebti keletą dovanų savo šeimoms. Nesuprantu, kodėl tualeto bakelių gamintojai neįtaiso į šiuos aparatus bombų, kurios sprogtų patraukus už grandinėlės. Nesuvokiu, kodėl visų vonių forma vienoda, kodėl nesugalvojama brangesnių taksi su viduje įtaisytų dirbtiniu lietumi, kad keleivis turėtų apsivilkti lietpaltį, kai lauke giedra. Kodėl, kai užsakau keptą omarą, man neatneša virto telefono, kodėl ledo kibirėliuose vėsinamas šampanas, o ne telefono rageliai, visuomet šilti ir lipnūs.. Ir kodėl nėra mėtų žalumo omaro formos telefonų sabalinėje įmautėje, skirtų fatališkoms moterims, o su nudvėsusia žiurke viduje - Edgarui Poe, kodėl jie ne su pasaitėliu, kodėl nepritvirtinti prie gyvo vėžlio nugaros...
Stulbina žmonių, visuomet darančių tą patį, aklumas. Stulbina ir tai, kad banko tarnautojas nesuvalgo čekio. Man keista, kodėl dailininkams iki šiol netoptelėjo mintis tapyti „minkštų laikrodžių“...

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.

I am the Don Quixote of unreality.

What is a television apparatus to man, who has only to shut his eyes to see the most inaccessible regions of the seen and the never seen, who has only to imagine in order to pierce through walls and cause all the planetary Baghdads of his dreams to rise from the dust.

Moja istraživanja trajala su čitavu godinu i najzad sam zaključio da samo reljef boje, znalački stavljen na platno, može da da oku pravi utisak. To je bio period koji su moji roditelji nazvali „kameno doba“. Upotrebljavao sam kamenje da bih dobio, na primer, veoma blistav oblak. Lepio sam kamenje na platno, a zatim ga bojio. Jedan od mojih najvećih uspeha u ovom žanru je bio zalazak sunca sa kao krv crvenim oblacima. Nebo je bilo prepuno kamenja svih dimenzija, od kojih su neki bili veliki kao pesnica. Ova slika je dugo visila na zidu porodične trpezarije i sećam se da nas je često, u tišini posle večere, iznenađivao šum kamena koji bi, odlepivši se sa slike, padao na pod. Moja majka bi prestala da šije, a otac ju je uvek umirivao rečima:
-Nije ništa, to je samo još jedan kamen pao sa neba našeg deteta.

Dangus - nei aukštai, nei žemai, nei dešinėje, nei kairėje, Dangus yra žmogaus, kuris Tiki, širdyje.

Men who fuck easily, and can give themselves without difficulty, have only a very diminished creative potency.. .Look at Leonardo da Vinci, Hitler, Napoleon, they all left their mark on their times, and they were more or less impotent.

When I paint, the Sea Roars
Others Splash about in the bath

But I very early realized, instinctively, my life formula: to get others to accept as natural the excesses of one's personality an thus to relieve oneself of his own anxieties by creating a sort of collective participation.

The first man to compare the cheeks of a young woman to a rose was obviously a poet; the first to repeat it was possibly an idiot.