****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.