thumb|250px|left|Salvador Dalí pada 1934 dalam foto karya [[Carl Van Vechten.]] 

'''Salvador Felip Jacint Dalí Domènech''' (surealis. Hasil karya dikenal karena kombinasi mimpi aneh (''bizzare'') dengan ''draftmanship'' dan keahlian menggambar yang luar biasa dipengaruhi oleh master Renaissance. Dali seorang artis dengan talenta dan imaginasi yang besar. Dia mengakui bahwa dia mencintai melakukan hal yang tidak biasa untuk menarik perhatian dirinya sendiri, yang kadang-kadang menggangu penggermar yang mencintai lukisannya dan juga para pengkritiknya, karena perilaku "keteaterannya" yang eksentrik kadang-kadang membayangi hasil karyanya di perhatian publik.

thumb|left|''Dream Caused Flight Bumblebee around Pomegranate Second Before Awakening'' (1944)

== Pranala luar ==

* [http://www.dali-gallery.com/ Salvador Dalí Art Gallery]

Dalí, Salvador
Dalí, Salvador
Dalí, Salvador

be-x-old:Сальвадор Далі

eo:Salvador Dalí
es:Salvador Dalí

ga:Salvador Dalí

hy:Սալվադոր Դալի
ilo:Salvador Dali

{{Infobox Artist
| name          = Salvador Dalí, Marquis de Púbol
| image         = Salvador Dalí 1939.jpg
| imagesize     = 180px
| caption       = Salvador Dalí<br>Photo by Carl Van Vechten taken 29 November 1939
| birthname     = Salvador Domingo Felipe Jacinto Dalí i Domènech
| birthdate     = 
| location      = Figueres, Catalonia, Spain
| deathdate     = 
| deathplace    = Figueres, Catalonia, Spain
| nationality = Spanish
| field         = Painting, Drawing, Photography, Sculpture, Writing
| training      = San Fernando School of Fine Arts, Madrid
| movement      = Cubism, Dada, Surrealism
| works         = ''The Persistence of Memory'' (1931)<br/>''Face of Mae West Which May Be Used as an Apartment'', (1935)<br/>''Soft Construction with Boiled Beans (Premonition of Civil War)'' (1936)<br/>''Swans Reflecting Elephants'' (1937)<br/>''Ballerina in a Death's Head'' (1939)<br/>''The Temptation of St. Anthony'' (1946)<br/>''Galatea of the Spheres'' (1952)<br/>''Young Virgin Auto-Sodomized by the Horns of Her Own Chastity'' (1954)
| patrons       =
| awards        =
}}

'''Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st Marquis of Púbol'''  (Spanish Catalan draftsman, best known for the striking and bizarre images in his surrealist work. His Academy Award-nominated short cartoon , which was completed and  released posthumously in 2003. He also collaborated with Spellbound''.

Dalí insisted on his "Arab lineage", claiming that his ancestors were descended from the Moors who occupied Southern Spain for nearly 800 years (711-1492), and attributed to these origins, "my love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes."<ref> Gibson found out that "Dalí" (and its many variants) is an extremely common surname in Arab countries like Morocco, Tunisia, Algeria or Egypt. On the other hand, also according to Gibson, Dalí's mother family, the Domènech of Barcelona, had Jewish roots.</ref>

Widely considered to be greatly imaginative, Dalí had an affinity for doing unusual things to draw attention to himself. This sometimes irked those who loved his art as much as it annoyed his critics, since his eccentric manner sometimes drew more public attention than his artwork.<ref>Saladyga, Stephen Francis. [http://purple.niagara.edu/jlittle/lamplighter/saladyga.htm "The Mindset of Salvador Dalí"]. ''lamplighter (Niagara University)''. Vol. 1 No. 3, Summer 2006. Retrieved July 22 2006.</ref> The purposefully-sought notoriety led to broad public recognition and many purchases of his works by people from all walks of life.

==Biography==

===Early life===
Salvador Domingo Felipe Jacinto Dalí i Domènech, was born on region close to the French border in Catalonia, Spain.<ref>Dalí, The Secret Life of Salvador Dalí, 1948, London: Vision Press, p.33</ref> Dalí's older brother, also named Salvador (b. October 12 1901), had died of gastroenteritis, nine months earlier, on August 1 1903. His father, Salvador Dalí i Cusí, was a middle-class lawyer and notary<ref  name=Llongueras>Llongueras, Lluís. (2004) ''Dalí'', Ediciones B — Mexico. ISBN 84-666-1343-9.</ref> whose strict disciplinarian approach was tempered by his wife, Felipa Domenech Ferrés, who encouraged her son's artistic endeavors.<ref name=Rojas>Rojas, Carlos. ''Salvador Dalí, Or the Art of Spitting on Your Mother's Portrait'', Penn State Press (1993). ISBN 0-271-00842-3.</ref> When he was five, Dalí was taken to his brother's grave and told by his parents that he was his brother's reincarnation,<ref name=sina>[http://edu.sina.com.cn/en/2004-06-17/22707.html Salvador Dalí]. ''SINA.com''. Retrieved on July 31 2006.</ref> which he came to believe.<ref>[http://www.astrodatabank.com/NM/DaliSalvador.htm Salvador Dalí biography] on astrodatabank.com. Accessed 30 September 2006.</ref> Of his brother, Dalí said: ''"… [we] resembled each other like two drops of water, but we had different reflections."''<ref>Dalí, Secret Life, p.2</ref> He ''"was probably a first version of myself but conceived too much in the absolute."''<ref>Dalí, Secret Life, p.2</ref>

Dalí also had a sister, Ana María, who was three years younger.<ref name=Llongueras /> In 1949 she published a book about her brother, ''Dalí As Seen By His Sister''.<ref></ref> His childhood friends included future Sagibarbá and Josep Samitier. During holidays at the Catalan resort of Cadaqués, the trio played football together.

Dalí attended drawing school. In 1916 Dalí also discovered modern painting on a summer vacation to Cadaqués with the family of Ramon Pichot, a local artist who made regular trips to Paris.<ref name=Llongueras /> The next year, Dalí's father organized an exhibition of his charcoal drawings in their family home. He had his first public exhibition at the Municipal Theater in Figueres in 1919.

In February 1921, Dalí's mother died of breast cancer. Dalí was sixteen years old; he later said his mother's death ''"was the greatest blow I had experienced in my life. I worshipped her … I could not resign myself to the loss of a being on whom I counted to make invisible the unavoidable blemishes of my soul."''<ref>Dalí, Secret Life, pp.152–153</ref> After her death, Dalí's father married his deceased wife's sister. Dalí did not resent this marriage as some do think, because he had a great love and respect toward his aunt.<ref name=Llongueras />

===Madrid and Paris===

thumb|right|Wild-eyed antics of Dalí (left) and fellow [[surrealism|surrealist artist Man Ray in Paris on June 16, 1934, photographed by Carl Van Vechten]]

In 1922, Dalí moved into the aesthetes of the late 19th century. But his paintings, where he experimented with Cubism, earned him the most attention from his fellow students. In these earliest Cubist works, he probably did not completely understand the movement, since his only information on Cubist art came from a few magazine articles and a catalog given to him by Pichot, and there were no Cubist artists in Madrid at the time.

In 1924 the still unknown Salvador Dalí illustrated for the first time a book. It was the Catalan poem "Les bruixes de Llers" ("The Witches of Llers") by his friend and schoolmate, the poet Carles Fages de Climent. 

Dalí also experimented with Ian Gibson.</ref> but Dalí fearfully rejected the erotic advances of the poet.<ref name=coversations>Bosquet, Alain, ''[http://www.ubu.com/historical/dali/dali_conversations.pdf Conversations with Dalí]'', 1969. p. 19-20.  (of Garcia Lorca) 'S.D.:He was homosexual, as everyone knows, and madly in love with me. He tried to screw me twice .... I was extremely annoyed, because I wasn’t homosexual, and I wasn’t interested in giving in. Besides, it hurts. So nothing came of it. But I felt awfully flattered vis-à-vis the prestige. Deep down I felt that he was a great poet and that I owe him a tiny bit of the Divine Dalí's asshole.'</ref>

Dalí was expelled from the Academia in 1926 shortly before his final exams when he stated that no one on the faculty was competent enough to examine him.<ref name=olga>[http://www.abcgallery.com/D/dali/dalibio.html Salvador Dalí: Olga's Gallery]. Retrieved on July 22, 2006.</ref> His mastery of painting skills is well documented by that time in his flawlessly realistic ''Basket of Bread'', which was painted in 1926.<ref>[http://www.dali-gallery.com/html/galleries/painting05.htm Paintings Gallery #5<!-- Bot generated title -->]</ref> That same year he made his first visit to Paris where he met with Pablo Picasso, whom young Dalí revered. Picasso had already heard favorable things about Dalí from Joan Miró. Dalí did a number of works heavily influenced by Picasso and Miró over the next few years as he developed his own style.

Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s. Dalí devoured influences from many styles of art and then produced works ranging from the most academically classic, evidencing a familiarity with Velázquez,<ref>[http://www.artcyclopedia.com/feature-2005-03.html Phelan, Joseph]</ref> to the most cutting-edge avant-garde,<ref>Hodge, Nicola, and Libby Anson. ''The A–Z of Art: The World's Greatest and Most Popular Artists and Their Works''. California: Thunder Bay Press, 1996. [https://ucmshare.ucmerced.edu/docushare/dsweb/Get/Document-94961/Dali+Salvador.doc Online citation].</ref> sometimes in separate works and sometimes combined. Exhibitions of his works in Barcelona attracted much attention and mixtures of praise and puzzled debate from critics.

Dalí grew a flamboyant moustache, which became iconic of him; it was influenced by that of seventeenth century Spanish master painter Diego Velázquez.

===1929 through World War II===
<!-- NB on the Spanish word "memoria": in Spanish, the emphasis is on the O (memORia), not on the I (memorIA) as an English speaker might think.  I write this because someone before had written it as "memoría" which is incorrect. // yes, but anyhow, neither memoria nor persistencia carry accents … // But the work premiered in Paris with the title in French; it has never exhibited in Spain and has always been known with its title in French or English-->

In 1929, Dalí collaborated with the surrealistic film director Gala,<ref name=unbound>Shelley, Landry. [http://www.tcnj.edu/~unbound/spring2005/articles/a2 "Dalí Wows Crowd in Philadelphia"]. ''Unbound'' (surrealist poet Paul Éluard. In the same year, Dalí had important professional exhibitions and officially joined the surrealist group in the Montparnasse quarter of Paris (although his work had already been heavily influenced by surrealism for two years). The surrealists hailed what Dalí called the Paranoiac-critical method of accessing the subconscious for greater artistic creativity.<ref name=Llongueras /><ref name=Rojas />

In 1931, Dalí painted one of his most famous works, ''The Persistence of Memory''.<ref>[http://www.salvadordalimuseum.org/education/documents/clocking_in.pdf Clocking in with Salvador Dalí: Salvador Dalí's Melting Watches] (PDF) from the Salvador Dalí Museum. Retrieved on August 19 2006.</ref> Sometimes called ''Soft Watches'' or ''Melting Clocks'', the work introduced the surrealistic image of the soft, melting pocket watch. The general interpretation of the work is that the soft watches debunk the assumption that time is rigid or deterministic, and this sense is supported by other images in the work, such as the wide expanding landscape and the ants and fly devouring the other watches.<ref name=Conquete>Salvador Dalí,  (Paris: Éditions surréalistes, 1935), p. 25.</ref>

Dalí and Gala, having lived together since 1929, were married in 1934 in a civil ceremony (They remarried in a Catholic ceremony in 1958).

Dalí was introduced to America by art dealer Julian Levy in 1934, and the exhibition of Dalí works (including ''Persistence'') in New York created an immediate sensation. Social Register listees feted him at a specially organized "Dalí Ball".  He showed up wearing on his chest a glass case containing a brassiere. <ref> Current Biography 1940, pp219-220 </ref> In 1936, Dalí took part in the London International Surrealist Exhibition. His lecture entitled  was delivered wearing a deep-sea diving suit.<ref>Jackaman, Rob. (1989) ''Course of English Surrealist Poetry Since the 1930s'', Edwin Mellen Press. ISBN 0-88946-932-6.</ref> He had arrived carrying a billiard cue and leading a pair of Russian wolfhounds, and had to have the helmet unscrewed as he gasped for breath.  He commented that "I just wanted to show that I was 'plunging deeply' into the human mind." <ref> Current Biography 1940, p219 </ref>

According to Luis Buñuel, Dalí and Gala went to a masquerade party in Chicago dressed as the Lindbergh baby and the kidnapper.  The uproar in the press was so great that Dalí apologized;   when he returned to Paris, the Surrealists put him on trial for apologizing for a surrealist act. <ref>Luis Buñuel, '''My Last Sigh: The Autobiography of Luis Buñuel''', Vintage 1984. ISBN 0816643873</ref>

André Breton accused Dalí of defending the "new" and "irrational" in the  "the Hitler phenomenon", but the artist quickly rejected this claim saying, "I am Hitlerian neither in fact nor intention."<ref>Robin Adèle Greeley, ''Surrealism and the Spanish Civil War'', Yale University Press, 2006, p81. ISBN 0300112955</ref> However, when Francisco Franco came to power in the aftermath of the Spanish Civil War, Dalí's support of the new regime, among other things, eventually resulted in his purported expulsion from the surrealist group.<ref name=unbound /> At this, Dalí retorted, "I myself am surrealism."<ref name=olga /> André Breton coined the anagram "avida dollars" (for ''Salvador Dalí''), which more or less translates to "eager for dollars,"<ref name=artcyclopedia>[http://www.artcyclopedia.com/artists/dali_salvador.html Artcyclopedia: Salvador Dalí]. Retrieved September 4, 2006.</ref> by which he referred to Dalí after the period of his expulsion. The surrealists henceforth spoke of Dalí in the past tense, as if he was dead. At this stage his main patron was the very wealthy Edward James. The surrealist movement and various members thereof (such as Ted Joans) would continue to issue extremely harsh polemics against Dalí until the time of his death and beyond.

Edward James helped the young Salvador Dalí emerge into the art world by purchasing many works and supporting him financially for two years. They became good friends and James features in Dalí's painting ‘Swans Reflecting Elephants.’   They also collaborated on two of the most enduring icons of the Surrealist movement: the Lobster Telephone and the Mae West Lips Sofa. 

"During this period Dalí never stopped writing", wrote Robert and Nicolas Descharnes. <ref> Descharnes, Robert and Nicolas. ''Salvador Dalí''. New York: Konecky & Konecky, 1993. p. 35.</ref>  In 1941, he drafted a film scenario for Jean Gabin called ''Moontide''. He wrote catalogs for his exhibitions like that at the Knoedler Gallery [in New York City in 1943] where he expounded, 'Surrealism will at least have served to give experimental proof that total sterility and attempts at automatizations have gone too far and have led to a totalitarian system. ... Today's laziness and the total lack of technique have reached their paroxysm in the psychological signification of the current use of the college.'  He also wrote a novel (published in 1944) about a fashion salon for automobiles.  This got a drawing by Edwin Cox in The Miami Herald showing him dressing an automobile in an evening gown."<ref> Descharnes, Robert and Nicolas. ''Salvador Dalí''. New York: Konecky & Konecky, 1993. p. 35. </ref>

In 1940, as World War II started in Europe, Dalí and Gala moved to the United States, where they lived for eight years.  After the move, Dalí returned to the practice of Catholicism. In 1942, he published his autobiography, ''The Secret Life of Salvador Dalí''. An Italian friar, Gabriele Maria Berardi, claimed to have performed an exorcism on Dalí while he was in France in 1947.<ref name="exorcist-gift">[http://www.cathnews.com/news/510/72.php Dalí's gift to exorcist uncovered] Catholic News 14 October 2005</ref> The friar's estate contained a sculpture of Christ on the cross which Dalí had given his exorcist to thank him.<ref name="exorcist-gift"/> The sculpture was discovered in 2005 and two Spanish experts in Surrealism confirmed that there were adequate stylistic reasons to believe the sculpture was made by Dalí.<ref name="exorcist-gift"/>

===Later years in Catalonia===
Starting in 1949, Dalí spent his remaining years back in his beloved Catalonia. The fact that he chose to live in Spain while it was ruled by Franco drew criticism from progressives and many other artists.<ref name=navarro>Navarro, Vicente, Ph.D. [http://www.counterpunch.org/navarro12062003.html "The Jackboot of Dada: Salvador Dalí, Fascist"]. ''Counterpunch''. December 6, 2003. Retrieved July 22, 2006.</ref> As such, it is probable that at least some of the common dismissal of Dalí's later works had more to do with politics than the actual merits of the works themselves. In 1959, André Breton organized an exhibit called, ''Homage to Surrealism'', celebrating the Fortieth Anniversary of Surrealism, which contained works by Salvador Dalí, Joan Miró, Enrique Tábara, and Eugenio Granell. Breton vehemently fought against the inclusion of Dalí's ''Sistine Madonna'' in the International Surrealism Exhibition in New York the following year.<ref name=lopez>López, Ignacio Javier. ''The Old Age of William Tell (A study of Buñuel's ''Tristana'')''. ''MLN'' 116 (2001): 295–314.</ref>

Late in his career, Dalí did not confine himself to painting but experimented with many unusual or novel media and processes: he made bulletist works<ref name=bp>[http://www.bonjourparis.com/Articles/Museums_and_Sights/The_Phantasmagoric_Universe_%E2%80%94_Espace_Dal%C3%AD_%C3%80_Montmartre/ The Phantasmagoric Universe—Espace Dalí À Montmartre]. . Retrieved on hypercube - a 4-dimensional cube - and an unfolding of a hypercube is featured in the painting ''Crucifixion (Corpus Hypercubus)''.

Dalí's post-World War II period bore the hallmarks of technical virtuosity and an interest in optical illusions, science and religion.  Increasingly Catholic, and inspired by the shock of Hiroshima, he labeled this period "Nuclear Mysticism". In paintings such as The Madonna of Port-Lligat (first version) of 1949 and Corpus Hypercubus, 1954, Dalí sought to synthesize Christian iconography with images of material disintegration inspired by nuclear physics.<ref>[http://www.arton5th.com/Dali/bio.html Salvador Dalí Bio, Art on 5th] Retrieved July 22 2006.</ref> "Nuclear Mysticism" included such notable pieces as La Gare de Perpignan, 1965, and Hallucinogenic Toreador, 1968–1970. In 1960, Dalí began work on the Dalí Theatre and Museum in his home town of Figueres; it was his largest single project and the main focus of his energy through 1974. He continued to make additions through the mid-1980s.

In 1968, Dalí filmed a television advertisement for Lanvin chocolates<ref>[http://ehotelier.com/browse/news_item.php?id=P12135 Salvador Dalí at Le Meurice Paris and St Regis in New York] Andreas Augustin, ehotelier.com, 2007</ref> and in 1969 designed the Chupa Chups logo. Also in 1969, he was responsible for creating the advertising aspect of the 1969 Eurovision Song Contest, and created a large metal sculpture, which stood on the stage at the Teatro Real in Madrid.

In the television programme ''Dirty Dalì: A Private View'' broadcast on Channel 4 on June 3, 2007, the art critic Brian Sewell described his acquaintance with Dalí in the late 1960s, which included lying down in the fetal position without trousers in the armpit of a figure of Christ and masturbating for Dalí who pretended to take photos while fumbling in his own trousers.<ref>[http://living.scotsman.com/index.cfm?id=869862007 Scotsman review of Dirty Dalí]</ref><ref>[http://www.thisislondon.co.uk/arts/article-23398918-details/The+Dali+I+knew/article.do   The Dali I knew] By Brian Sewell, thisislondon.co.uk</ref>

In 1980, Dalí's health took a catastrophic turn. His near-Parkinson-like.<ref>Ian Gibson (1997). ''The Shameful Life of Salvador Dalí''. W. W. Norton & Company. </ref>

In 1982, King Marquis of Pubol, for which Dalí later paid him by giving him a drawing (''Head of Europa'', which would turn out to be Dalí's final drawing) after the king visited him on his deathbed.

Gala died on castle in Púbol which he had bought for Gala and was the site of her death. In 1984, a fire broke out in his bedroom<ref>[http://query.nytimes.com/gst/fullpage.html?res=9905E1DB1038F932A3575AC0A962948260  "Dalí Resting at Castle After Injury in Fire"]. ''Theater-Museum for his final years.

thumb|right|[[Dalí Theatre and Museum in Figueres, home of his crypt]]
thumb|left|Sant Pere in [[Figueres, scene of Dalí's Baptism, First Communion, and funeral]]

There have been allegations that his guardians forced Dalí to sign blank canvasses that would later (even after his death) be used and sold as originals.<ref name="scandal"></ref> As a result, art dealers tend to be wary of late works attributed to Dalí. 

In November 1988 Dalí entered the hospital with heart failure and on December 5, 1988 was visited by King Juan Carlos who confessed that he had always been a serious devotee of Dalí.<ref>Etherington
-Smith, Meredith[http://books.google.com/books?id=soncxLrkYX0C&dq The Persistence of Memory: A Biography of Dalí] p. 411, 1995 Da Capo Press, ISBN 0306806622</ref>  

On crypt of his Teatro Museo in Figueres, across the street from the church of Sant Pere where he had his funeral, first communion, and baptism, and three blocks from the house where he was born.<ref>Etherington
-Smith, Meredith[http://books.google.com/books?id=soncxLrkYX0C&dq The Persistence of Memory: A Biography of Dalí] pp. xxiv, 411-412, 1995 Da Capo Press, ISBN 0306806622</ref>

The Gala-Salvador Dalí Foundation currently serves as his official Estate.<ref>http://www.salvador-dali.org/en_index.html | The Gala-Salvador Dalí Foundation website</ref>. The U.S. copyright representative for the Gala-Salvador Dalí Foundation is the  Most frequently requested artists list of the Artists Rights Society</ref>. In 2002, the [[Artists Rights Society made the news when they asked Google to remove customised version of its logo put up to commemorate Dalí, alleging that portions of specific artworks under their protection had been used in the logos, and that they were used without permission. Google complied with the request, but denied that there was any violation of copyright.

==Symbolism==
Dalí employed extensive symbolism in his work. For instance, the hallmark soft watches that first appear in ''The Persistence of Memory'' suggest Einstein's theory that time is relative and not fixed.<ref name=Conquete /> The idea for clocks functioning symbolically in this way came to Dalí when he was staring at a runny piece of Camembert cheese during a hot day in August.<ref>Salvador Dalí, ''The Secret Life of Salvador Dalí'' (New York: Dial Press, 1942), p. 317.</ref>

The elephant is also a recurring image in Dalí's works. It first appeared in his 1944 work ''Gian Lorenzo Bernini's sculpture  base in Rome of an elephant carrying an ancient obelisk,<ref>Michael Taylor in Dawn Ades (ed.), ''Dalí'' (Milan: Bompiani, 2004), p. 342</ref> are portrayed "with long, multi-jointed, almost invisible legs of desire"<ref name=countycollection>[http://www.countyhallgallery.com/education/dali_collection.htm Dalí Universe Collection]. ''County Hall Gallery''. Retrieved on July 28, 2006.</ref> along with obelisks on their backs. Coupled with the image of their brittle legs, these encumbrances, noted for their phallic overtones, create a sense of phantom reality. "The elephant is a distortion in space", one analysis explains, "its spindly legs contrasting the idea of weightlessness with structure."<ref name=countycollection /> … I am painting pictures which make me die for joy, I am creating with an absolute naturalness, without the slightest aesthetic concern, I am making things that inspire me with a profound emotion and I am trying to paint them honestly. —Salvador Dalí, in Dawn Ades, ''Dalí and Surrealism''.

The egg is another common Dalíesque image. He connects the egg to the prenatal and intrauterine, thus using it to symbolize hope and love;<ref name=symb>[http://www.countyhallgallery.com/education/dali_symbols.htm "Salvador Dalí's symbolism"]. ''County Hall Gallery''. Retrieved on The Metamorphosis of Narcissus''. Various animals appear throughout his work as well: ants point to death, decay, and immense sexual desire; the snail is connected to the human head (he saw a snail on a bicycle outside Freud's house when he first met Sigmund Freud); and locusts are a symbol of waste and fear.<ref name=symb />

==Endeavors outside painting==
Dalí was a versatile artist, not limiting himself only to painting in his artistic endeavors. Some of his more popular artistic works are sculptures and other objects, and he is also noted for his contributions to theatre, fashion, and photography, among other areas.

Two of the most popular objects of the surrealist movement were the '' Lobster Telephone by Salvador Dalí]. ''Tate Online''. Retrieved on [[August 4, 2006.</ref> The telephone was functional, and James purchased four of them from Dalí to replace the phones in his retreat home. One now appears at the Tate Gallery; the second can be found at the German Telephone Museum in Frankfurt; the third belongs to the Edward James Foundation; and the fourth is at the National Gallery of Australia.<ref name=natgalaust />

The wood and satin ''Mae West Lips Sofa'' was shaped after the lips of actress Mae West, whom Dalí apparently found fascinating.<ref name=unbound /> West was previously the subject of Dalí's 1935 painting ''The Face of Mae West''. The ''Mae West Lips Sofa'' currently resides at the Brighton and Hove Museum in England.