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DALI SALVADOR: (1904-1989) Spanish surrealist artist.
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Beschreibung
DALI SALVADOR: (1904-1989) Spanish surrealist artist. A remarkable illustrated autograph Manuscript Signed, Salvador Dali, five pages (separate leaves), large folio (16 x 17”, 40 x 42.5 cm), n.p., 1953, in a singular language based on French interspersed with Hispanisms and other words phonetically reproducing the Catalan accent. Dali’s manuscript is entitled Mes secrets sinematographiques (‘My Cinematic Secrets’) and was originally published in the review La Parisienne in February 1954 in an adaptation by Michel Deon who normalized Dali’s deviant spelling and syntax. The manuscript in its original form, with important variations, therefore reveals the delirious orality of the Dalian text, the artist first affirming the conviction of his genius in cinematographic art by recalling the importance of his first two films, Un chien andalou and L’Age d’or, and by demeaning the role of the filmmaker Luis Bunuel in their realisation, further unveiling his film project La Brouette de flesh and describing the delirious visions and hallucinations he intends to put into images, in part, ‘Il i ha peu près une semaine que ge viens de découbrir que dans ma vie ge suis en tout en retard environ de 12 ans, cinéma i compris, il i a 11 ans que ge progète de faire un film intégrallement totalitairement cent pour cent hiper Dali, donc cela veut dire que vraisenbleblement ce film se tournera infin, l'ané prochaine - Ge suis le contraire du verger et du lu de La Fontaine comme que dans ma vie, et déjà dans mon adolescence ge réalisse tan de chosses sensationelles ….À 27 ans j'arrivai à Paris et ge créé avec Buñuel 2 films qui resteron historiques le Chien andalou et L'Âge d'or. Dernièrement Buñuel a faid tout seul d'autres films me rendan ainsi l'inmense service de que tout le monde puisse enfin savoir à qui apartené le côté génial et le côté primaire dans Le Chien andalu et L'Âge d'or…….Por qu'un film soit prodigieux la première des chosses c'et que l'on puisse croire au prodige que l'on vous montre, pour cela avant tout autre chosse il faut en finir avec le répugnant ritme cinématographique, cete conventionelle et anuyuesse [ennuyeuse] rétorique du mouvement de la caméra - même dans lé plus cumun mélodrame coment croire à l'asasin, si la caméra le suis en travelin partout même dans lé lavabo où il va laver le sang de ses mains?.........Mon prochain film sera exactement le contraire d'un film expérimental de vangarde et surtout de ce que l'on apelle aujurd'hui “créatif” sinonime de l'imitation servile de tous les lieux comuns du triste art moderne. Mon film sera une vrai istoire d'une feme paranoyaque amureusse d'une bruète qui succesivement se revêt de tous les atributs de la persone aimé, le cadabre de la quelle avais servi pour moayen de transport ; jusqu'à s'incarné à nouveau en elle, la bruètte devien de chair et c'et pour cela que mon film s'apellera La Bruètte de chair. Tout espectateur rafiné ou hutre moayen sera forcé de participer au délire de ma fétichiste, car il s'agit d'un cas rigureussement vrai, et cera raconté, come aucune documentaire n'est capable de le réalissé….. Ainssi ge peut déjà asurer à mes lecteurs que dans mon film il verron avec toute la minutie des mouvements lents se dévelopent dans la plus rigureusse euritmie arcangélique, l'un après l'autre 5 cignes blancs explosan. Les signes seron trufés de pomes grenades elles aussi munis d'une charge explosive adécuate, de façont que quand on aura pu observé avec minuci les derniers entre-déchirements des entrailles des cignes, se produiront les explosions des pomes grenades, de sorte que probablement tel que nous avons déjà expérimenté les grains de la pome grenade progetés à la périférie du décartelage anatomique, parvenan à causse de leur petite taille par les intertices jusqu'aux plumes en suspension, orteron cellesci, tell que l'on peut rêvé et surtout rêvassé, doit se produire entre les corpuscules de lumière (graines de pome grenade et ondes lumineusses représentés por les blanchisimes arcangéliques plumes du signe). - De sorte que les corpuscules dans la dite expérience auron la corporaïté de Mantegne et les plumes le flue qui fit fameux le peintre Eugène Carrière. Aussi on pourra voir une escène, représentan la fontaine de Trevi à Rome, les fenêtres s'ouvran et 6 rinocéros tomben à l'eau, à chaque chute de rinocéros un paraplui noir s'oubre émerjan de l'eau de la fontaine…….Dans un'autre oportunité 100 ziganes españols tueron et dépèceron jusqu'à ne lessé que son esquelette pelé, un éléfant dans une rue de Madrid (transposan ainsi une fameuse scène africaine que g'é lu dans un libre). À un moment doné qu'oùs apéressent les côtes du paquiderme, deux ziganes (lesquels malgré leur frénési sauvage n'arrêten pas un instin de chanter du canté hondo pénétren à l'intérieur pour atraper les viscères meilleures, quer, rognongs ect….’ (Translation: ‘It’s been about a week since I’ve just discovered that in my life I’m about 12 years late in everything, including cinema, it’s been 11 years since I’ve been planning to make a film entirely totally one hundred percent hyper Dali, so that means that this film will probably end up being shot next year – I am the opposite of the orchard and the lu de la Fontaine as in my life, and already in my adolescence I did so many sensational things……At 27 I arrived in Paris and I created with Bunuel 2 films that will remain historic, Le chien andalou and L'Âge d'or. Lately Bunuel has made other films on his own, so that everyone can finally know to whom belonged the brilliant side and the primary side in Le chien andalou and L’Age d’or……For a film to be prodigious, the first thing is for people to be able to believe in the prodigy that is shown to you, for that, before anything else, it is necessary to put an end to the repugnant cinematographic rhythm, this conventional and boring retort of the movement of the camera – even in the most common melodrama how to believe in the assassin, if the camera follows him in travelling everywhere, even in the sink where he will wash the blood from his hands?.......My next film will be the exact opposite of an experimental vanguard film and above all of what we call today “creative” if not the servile imitation of all the commonplaces of sad modern art. My film will be a true story of a paranoid woman in love with a brute who successively takes on all the attributes of the loved one, the corpse of which had served as a means of transport; until it is embodied again in herm the bruètte becomes flesh and that is why my film will be called La Bruètte de flesh. Any refined viewer or Moayan oyster will be forced to participate in my fetishist’s delirium, for this is a strictly true case, and it will be told, as no documentary is capable of realising it……Thus I can already assure my readers that in my film he will see with all the meticulousness of the slow movements developing in the most rigorous archangelic euritimia, one after the other 5 white swans exploding. The signs will be riddled with pomegranates, also equipped with an adequate explosive charge, so that when we have been able to carefully observe the last tearings of the entrails of the swans, the explosions of the pomegranates will occur...) In the left margin of the third page Dali has drawn two illustrations of male figures, the first somewhat grotesque and the second in a Cubist style, seemingly with another man emerging from his torso. A wonderful, rare manuscript which is distinctly Dali in its composition. Some very light, minimal age wear, VG OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION OF THIS LOT CAN NOT BE DISPLAYED - PLEASE REFER TO IAA FOR FURTHER INFORMATION
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DALI SALVADOR: (1904-1989) Spanish surrealist artist. A remarkable illustrated autograph Manuscript Signed, Salvador Dali, five pages (separate leaves), large folio (16 x 17”, 40 x 42.5 cm), n.p., 1953, in a singular language based on French interspersed with Hispanisms and other words phonetically reproducing the Catalan accent. Dali’s manuscript is entitled Mes secrets sinematographiques (‘My Cinematic Secrets’) and was originally published in the review La Parisienne in February 1954 in an adaptation by Michel Deon who normalized Dali’s deviant spelling and syntax. The manuscript in its original form, with important variations, therefore reveals the delirious orality of the Dalian text, the artist first affirming the conviction of his genius in cinematographic art by recalling the importance of his first two films, Un chien andalou and L’Age d’or, and by demeaning the role of the filmmaker Luis Bunuel in their realisation, further unveiling his film project La Brouette de flesh and describing the delirious visions and hallucinations he intends to put into images, in part, ‘Il i ha peu près une semaine que ge viens de découbrir que dans ma vie ge suis en tout en retard environ de 12 ans, cinéma i compris, il i a 11 ans que ge progète de faire un film intégrallement totalitairement cent pour cent hiper Dali, donc cela veut dire que vraisenbleblement ce film se tournera infin, l'ané prochaine - Ge suis le contraire du verger et du lu de La Fontaine comme que dans ma vie, et déjà dans mon adolescence ge réalisse tan de chosses sensationelles ….À 27 ans j'arrivai à Paris et ge créé avec Buñuel 2 films qui resteron historiques le Chien andalou et L'Âge d'or. Dernièrement Buñuel a faid tout seul d'autres films me rendan ainsi l'inmense service de que tout le monde puisse enfin savoir à qui apartené le côté génial et le côté primaire dans Le Chien andalu et L'Âge d'or…….Por qu'un film soit prodigieux la première des chosses c'et que l'on puisse croire au prodige que l'on vous montre, pour cela avant tout autre chosse il faut en finir avec le répugnant ritme cinématographique, cete conventionelle et anuyuesse [ennuyeuse] rétorique du mouvement de la caméra - même dans lé plus cumun mélodrame coment croire à l'asasin, si la caméra le suis en travelin partout même dans lé lavabo où il va laver le sang de ses mains?.........Mon prochain film sera exactement le contraire d'un film expérimental de vangarde et surtout de ce que l'on apelle aujurd'hui “créatif” sinonime de l'imitation servile de tous les lieux comuns du triste art moderne. Mon film sera une vrai istoire d'une feme paranoyaque amureusse d'une bruète qui succesivement se revêt de tous les atributs de la persone aimé, le cadabre de la quelle avais servi pour moayen de transport ; jusqu'à s'incarné à nouveau en elle, la bruètte devien de chair et c'et pour cela que mon film s'apellera La Bruètte de chair. Tout espectateur rafiné ou hutre moayen sera forcé de participer au délire de ma fétichiste, car il s'agit d'un cas rigureussement vrai, et cera raconté, come aucune documentaire n'est capable de le réalissé….. Ainssi ge peut déjà asurer à mes lecteurs que dans mon film il verron avec toute la minutie des mouvements lents se dévelopent dans la plus rigureusse euritmie arcangélique, l'un après l'autre 5 cignes blancs explosan. Les signes seron trufés de pomes grenades elles aussi munis d'une charge explosive adécuate, de façont que quand on aura pu observé avec minuci les derniers entre-déchirements des entrailles des cignes, se produiront les explosions des pomes grenades, de sorte que probablement tel que nous avons déjà expérimenté les grains de la pome grenade progetés à la périférie du décartelage anatomique, parvenan à causse de leur petite taille par les intertices jusqu'aux plumes en suspension, orteron cellesci, tell que l'on peut rêvé et surtout rêvassé, doit se produire entre les corpuscules de lumière (graines de pome grenade et ondes lumineusses représentés por les blanchisimes arcangéliques plumes du signe). - De sorte que les corpuscules dans la dite expérience auron la corporaïté de Mantegne et les plumes le flue qui fit fameux le peintre Eugène Carrière. Aussi on pourra voir une escène, représentan la fontaine de Trevi à Rome, les fenêtres s'ouvran et 6 rinocéros tomben à l'eau, à chaque chute de rinocéros un paraplui noir s'oubre émerjan de l'eau de la fontaine…….Dans un'autre oportunité 100 ziganes españols tueron et dépèceron jusqu'à ne lessé que son esquelette pelé, un éléfant dans une rue de Madrid (transposan ainsi une fameuse scène africaine que g'é lu dans un libre). À un moment doné qu'oùs apéressent les côtes du paquiderme, deux ziganes (lesquels malgré leur frénési sauvage n'arrêten pas un instin de chanter du canté hondo pénétren à l'intérieur pour atraper les viscères meilleures, quer, rognongs ect….’ (Translation: ‘It’s been about a week since I’ve just discovered that in my life I’m about 12 years late in everything, including cinema, it’s been 11 years since I’ve been planning to make a film entirely totally one hundred percent hyper Dali, so that means that this film will probably end up being shot next year – I am the opposite of the orchard and the lu de la Fontaine as in my life, and already in my adolescence I did so many sensational things……At 27 I arrived in Paris and I created with Bunuel 2 films that will remain historic, Le chien andalou and L'Âge d'or. Lately Bunuel has made other films on his own, so that everyone can finally know to whom belonged the brilliant side and the primary side in Le chien andalou and L’Age d’or……For a film to be prodigious, the first thing is for people to be able to believe in the prodigy that is shown to you, for that, before anything else, it is necessary to put an end to the repugnant cinematographic rhythm, this conventional and boring retort of the movement of the camera – even in the most common melodrama how to believe in the assassin, if the camera follows him in travelling everywhere, even in the sink where he will wash the blood from his hands?.......My next film will be the exact opposite of an experimental vanguard film and above all of what we call today “creative” if not the servile imitation of all the commonplaces of sad modern art. My film will be a true story of a paranoid woman in love with a brute who successively takes on all the attributes of the loved one, the corpse of which had served as a means of transport; until it is embodied again in herm the bruètte becomes flesh and that is why my film will be called La Bruètte de flesh. Any refined viewer or Moayan oyster will be forced to participate in my fetishist’s delirium, for this is a strictly true case, and it will be told, as no documentary is capable of realising it……Thus I can already assure my readers that in my film he will see with all the meticulousness of the slow movements developing in the most rigorous archangelic euritimia, one after the other 5 white swans exploding. The signs will be riddled with pomegranates, also equipped with an adequate explosive charge, so that when we have been able to carefully observe the last tearings of the entrails of the swans, the explosions of the pomegranates will occur...) In the left margin of the third page Dali has drawn two illustrations of male figures, the first somewhat grotesque and the second in a Cubist style, seemingly with another man emerging from his torso. A wonderful, rare manuscript which is distinctly Dali in its composition. Some very light, minimal age wear, VG OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION OF THIS LOT CAN NOT BE DISPLAYED - PLEASE REFER TO IAA FOR FURTHER INFORMATION
AUTOGRAPH LETTERS, MANUSCRIPTS & HISTORICAL DOCUMENTS AUCTION
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Lose: 600
Lose: 570
Lose: 430
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num.12 Bajo B
Estepona
Malaga
29688
Spain
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