GLI Fahrenheit Oakleys

This has nothing to do with Salvador Dali, but I needed someplace to post a picture.

****MOST EXPLANATIONS OF THE PAINTINGS COME DIRECTLY FROM THE INTERNET****

Classical influences are again most prevalent in this Masterwork. Dalí had many times painted still life works such as tabletops filled with fruit, fish or bread. But this work is particularly important because it shows some of these objects in motion, suggesting Dalí's themes of Nuclear Mysticism.
The knife in the center of the painting divides the work into several perfect sections, another reference to Dalí's obsession with classical methodology. The fruits in the upper right hand portion of the work are all in nuclear motion, as are one of the fruit bowls and the water spilling out of the decanter. A hand holds a rhinoceros horn on the left hand side of the work, while a cauliflower floret dominates the upper right hand section. All of these objects suggest the natural spiral shapes with which Dalí had become so obsessed.
The small, colorful bits in the lower center of the work represent, according to Dalí, the bits of matter that are left over from when he painted this work. Taken as a whole, this piece is an in-depth examination of the tenets expounded upon Dalí in his theories of Divisionism and Nuclear Mysticism. Dalí asserted that all matter was not at all like it seemed, but instead had attributes that even he was only able to guess at. As nuclear physics continued to mature, Dalí was somewhat 'vindicated' in these beliefs, once the true nature of matter began to be unveiled.

Lapis-lazuli Corpuscular Assumption repeats several of the images seen in Raphaelesque Head Exploding (1951). The outline of the Pantheon can be seen, the top of which acts as a halo to Gala's head. Like the Madonna, Gala is exploding, her body delineated by the rhinoceros horns that swirl about the painting.
Above an altar is the figure of the crucified Christ. The model for Christ was a boy from Cadaqués called Juan whom the Dalís were very close to, treating him like an adopted son. The boy's body forms a triangle, a shape repeated by Gala's arms and head above. Dalí had a glass floor put in his studio so that he could look up or down on his models in order to recreate this perspective.
Dalí saw this painting as an interpretation of the philosopher Nietzsche's idea of natural strength, although here we have Gala as a "superwoman", ascending to heaven through her own innate force. In a later explanation of the work, Dalí wrote that Gala was rising to heaven with the aid of "anti-matter Angels". The painting can be interpreted as Gala's body either disintegrating or integrating.

This painting can be considered as a companion piece to another work that Dalí had done many years before, namely The Persistence of Memory in which Dalí initially created the scene on which this painting is based.
The ochre colored plain of the ground, has been divided up into cubic shaped blocks, and the addition of the rhinoceros horns in the upper left-hand portion of the painting also refers to Dalí's fascination with the molecular world. The melting watches and landscape of Cadaqués make another appearance herein, and the addition of the fish serves as a witness to the event.
Dalí created this painting as a continuation of his themes of Nuclear Mysticism by applying a perspective of Divisionism to the original painting. Dalí painted this work to explore the effects of nuclear weaponry, asserting that the invention of such weaponry had a profound effect upon everyone on the planet, even those in the small fishing villages along the coastline of Spain.

Dalí painted the portrait of his genial compatriot in California. It is interesting to compare it with his own Soft Self-Portrait with Grilled Bacon, painted six years earlier in the same place.
This portrait might be entitled Official Paranoiac Portrait of Pablo Picasso, because Dalí has assembled here all the folkloric elements that anecdotally depict the origins of the Andalusian painter. His renown is affirmed by his bust mounted on a pedestal, symbol of official consecration; the breasts depict Picasso's nutritious aspect while he carries on his head the heavy rock of the responsibility for the influence of his work on contemporary painting. The face itself is a mixture of a goat hoof and the headdress of the Greco-Iberian marble bust, the Lady of Elche, which brings to mind Andalusian and Malagan origins of Picasso. The Iberian folklore is finished off with a carnation, a jasmine flower, and the guitar. Speaking about the work of this Titan shortly after his death, Dalí said: "I believe that the magic in Picasso's work is romantic, in other words, the root of its upheaval, while mine can only be done by building on tradition. I am totally different from Picasso since he was not interested in beauty, but in ugliness and I, more and more, in beauty; but ugly beauty and beautiful beauty, in extreme cases of geniuses like Picasso and me, can be of an angelic type."