January

January 18th, 2011 by Administrator

Sofas and chaises longues are often found in fine art, including the Velazquez’ Rokeby Venus, Canova’s Pauline Borghese as Venus not to mention Etruscan sarcophagi from Cerveteri.

However, as Salvador Dali’s Mae West’s Lips showed, chairs can also be artworks in their own right. When he built it Salvador Dali, the noted painter, left us a classic icon of C20th art.

Dali was unequivocally captivated by the actress. A portrait was done in 1934; afterward, with the capital of Edward James, the English patron to outfit a Surrealist building on his land near Chicester, he made the piece proper around 1938. A quintet were made by skilled labor. 3 are still the responsibility of the original owners, while a fourth rests in Brighton and the fifth piece has pride of place in a private collection.

The very same supporter is responsible for a lot of the symbols of Surrealism, however, one of them being among Dali’s creations, namely the Lobster Telephone of 1936. However, the sofa wasn’t expected to cope with being used for much time. Users’ comfort was just not a consideration wasn’t meant for robust daily use. As a matter of fact, he drew in part on a rock formation local to his Cadaques residence while working on the design, or so people say — hardly a path to ease of use. The recognition factor of that inspirational sex symbol — Baby Mae — has sadly declined. As a result, some time in the sixties the couch was interpreted anew, invoking Marilyn Monroe.