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Painting of the Week: Salvador Dalí, Madonna of Port Lligat

Salvador Dalí, The Madonna of Portlligat, 1949, Haggerty Museum of Art, Milwaukee, WI, USA. Detail.

Painting of the Week

Painting of the Week: Salvador Dalí, Madonna of Port Lligat

Salvador Dalí’s The Madonna of Port Lligat depicts an image of Mary holding baby Jesus in her lap. However it has layers upon layers of meaning. For example symbolism that looks forward to Easter – the Crucifixion and birth of new life. It is also a deeply personal image, based on Dalí’s wife and showing his hometown in Spain.

Spot the difference

There are two versions of Dalí’s The Madonna of Port Ligat. One lives in America and the other lives in Japan. Together they are a captivating game of spot-the-difference and guess-the-meaning.

Salvador Dalí, The Madonna of Portlligat, 1949, Haggerty Museum of Art, Milwaukee, WI, USA.

The first is small (49 x 37.5 cm) and when the second was created, a year later in 1950, it had swollen in size (275.3 x 209.8 cm) and detail. Together the two create a sort of animation.

Salvador Dalí, The Madonna of Port Lligat, 1950, Fukuoka Art Museum. Japan. Source: art-dali.com.

As if the first altar scene slowly rumbles backwards and elements of the painting move or grow, and new aspects emerge. Madonna’s clothes get disturbed, as she moves her foot out; the altar both grows (the bottom part raising upwards) and decays; and the sea urchin (a symbol of fertility, a flower of the sea) shrinks, splits and falls. The clouds roll in and the colour palette darkens.

Gala


The images of fertility abound in the second painting. There are now numerous women present. Two cuttlefish morph into three women, or possibly angels, hovering above the sea.

If you look closely the deep red curtain in the top right, and silvery shape in the bottom right alcove, both resemble female faces. The women in the painting are in fact one woman, Dalí ’s wife Gala. Port Lligat was their home in Spain and she is the Madonna. This idea is interesting because it was well known that Gala had a colourful sexual life while Dalí claimed to be the virgin.

The Madonna


The first Madonna is the visual focal point of her painting, while the second is not. In the second painting your eye is first drawn to Jesus, and then around the myriad details of the painting. In the second painting both Madonna and Christ now have rectangular holes in their chests.

Salvador Dalí, The Madonna of Port Lligat, 1950, Fukuoka Art Museum. Japan. Source: art-dali.com. Detail.

The body of Christ

While Christ is what fills the torso of Madonna, broken bread, which is known as “the body of Christ” in the Christian Eucharist, fills Christ’s. The landscape is the next layer of meaning. In the second version of the scene, the background gives a vision of the cross. The horizon line at halfway with the contrast of still and stormy skies comes together with the prominent shadows from the two island. This careful balancing juxtaposes sea and sky – heaven and earth. In Christianity, Jesus bridges the gap between heaven and earth – just as Dali’s painting literally depicts.

An Easter Egg!


In both paintings the objects that surround the Madonna and Child enhance the painting’s mediation on the religious themes. A shell, reminiscent of Botticelli’s Venus (who is another divine figure born without sex), is the origin of a fine thread. This thread allows an egg to hover prominently amid storm clouds and between the gap at the top of the altar.

Salvador Dalí, The Madonna of Portlligat, 1949, Haggerty Museum of Art, Milwaukee, WI, USA. Detail.

The egg is a smooth white ostrich egg, another symbol of purity and virgin birth – because of the medieval myth that the ostrich eggs were hatched by sunlight.


To read here more about eggs in art!

Crucifixion

The shell and egg are aligned with the sheath of wheat and the rose, which hover vertically at the bottom of the altar. The wheat links to the other pieces of bread in the image: the body of Christ and the basket that sits on the lower part of the altar.

These images align with the altar to create the sign of the cross, which is completed by Christ’s outstretched arms and the line dividing heaven and earth.

Salvador Dalí, The Madonna of Port Lligat, 1950, Fukuoka Art Museum. Japan. Source: art-dali.com. Detail.

The crucifixion is also referenced by the long nail that is affixed to the left side of the altar. From this, a second thread suspends a piece of decaying meat. The new curtains that hang at the top corners could also be an allusion to the event of the temple curtain splitting at the moment of Jesus’ death on the cross.

Surrealist painter, Salvador Dali is seen in New York on Nov. 4, 1942.

To read more about Dalí and surrealism why not read one of the following articles:

The Hallucinogenic Toreador

Start The Summer With Salvador Dalí

The Burning Giraffe

Salvador Dali Exhumation Shows The Truth About His Fatherhood And Mustache

10 Weird Things About Salvador Dali You Should Know

Isla graduated with a first class BA in Classics from the University of Cambridge in 2018. Her specialisms were Art, Archaeology and the Roman poet Ovid. After graduation she spent a year in Japan, where she interned as a curatorial assistant at the Fukuoka Asian Arts Museum. Currently, Isla is studying for a History of Art MA at Birkbeck, London (part-time). Professionally (full-time) Isla  is the Director of the Kent Academies Network University Access Programme and also a teacher at a school in Kent.

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