1. Surrealism & Fantasy Art

2. Surrealism and Fantasy Art
Surrealist works feature the element of surprise-based on fantasy.
Surrealism developed out of the Dada activities of World War I and the most important center of the movement was Paris.
Most of their work is developed from free association, dream analysis and the hidden unconscious. They used these techniques in developing methods to liberate imagination.
Dada-means “anti-art”. It was a movement where artists proclaimed that ANYTHING can be art. It was their attempt to snub the traditional art movements of that time……….

3. The Persistence of Memory
The orange clock at the bottom left of the painting is covered in ants. Dali often used ants in his paintings as a symbol for death.
In general the tree means life, but, in this case, it has the same function as the rest of the elements in the picture: to impress anxiety and, in a certain way, terror, although it is likely that it was conceived as a functional element on which to drape one of the watches. The golden cliffs in the upper right hand corner are reminiscent of Dalí's homeland, Catalonia, and are derived from the rocks and cliffs at Cape Creus, where the Pyrenees meet the sea. The original idea of this painting came to Dalí on a hot summer's day. He was at home with a headache while Gala was out shopping. After his meal he noticed some half eaten Camembert cheese and how runny it had become on account of the heat of the sunny day. That night, while he had been searching his soul for something to paint, he had a dream of clocks melting on a landscape. He went back to the unfinished painting he had been working on, which had a plain landscape with rocky cliffs in the background and a tree on a platform. Over two or three hours he added in the melting pocket watches which made this the iconic image it is today.
Salvador Dali

4. The Burning Giraffe Salvador Dali
The Burning Giraffe (1937) is a painting by the Spanish surrealist Salvador Dalí.
The image is set in a twilight atmosphere with deep blue sky. There are two female figures, one with drawers opening from her side like a chest. They both have undefinedshapes protruding from their backs which are supported by crutch-like objects. The hands, forearms and face of the nearest figure are stripped down to the muscular tissue beneath the skin. One figure is holding a strip of meat. Both human figures that double as a chest of drawers as well as the crutch like shapes are common archetypes in Dalí’s work.
In the distance is a giraffe with its back on fire. Dalí first used the burning giraffe image in his 1930 film L'Âge d'Or (The Golden Age). It appears again in 1937 in the painting The Invention of Monsters. Dalí described this image as “the masculine cosmic apocalyptic monster.” He believed it to be a premonition of war.
Salvador Dali

5. The face of war
The trauma and the view of war had often served as inspiration for Dalí’s work. He sometimes believed his artistic vision to be premonitions of war. This work was painted between the end of the Spanish Civil War and beginning of the Second World War.
The painting depicts a disembodied face hovering against a barren desert landscape. The face is withered like that of a corpse and wears an expression of misery. In its mouth and eye sockets are identical faces. In their mouths and eyes are more identical faces in a process implied to be infinite. Swarming around the large face are biting serpents. In the lower right corner is a hand print that Dalí insisted was left by his own hand.

6. The Madonna of Port Lligat
The Madonna of Port Lligat is the name of two paintings by Salvador Dalí. The first was created in 1949, measuring 49 x 37.5 centimetres (19.3 x 14.8 in), and is now housed in the Haggerty Museum of Art in Milwaukee, Wisconsin. Dali submitted it to Pope Pius XII for approval, which was granted. Dalí created a second painting in 1950 with the same title and same themes, with various poses and details changed, measuring 144 x 96 centimetres (57.7 x 37.8 in); as of 2004 the 1950 Madonna is exhibited by the Fukuoka City Art Gallery, Japan.
The paintings both depict a seated middle-aged Madonna (posed by Dalí's wife, Gala) with the infant Christ on her lap. Both figures have rectangular holes cut into their torsos, suggestive of their transcendent status. They are posed in a landscape, with a view of Port Lligat, Catalonia seashore in the background, with various surrealist details, including nails, fish, seashell, egg, and bread. The 1949 Madonna has a sea urchin; the 1950 Madonna has a rhinoceros and additional figures of angels, also posed by Gala. A poem and book based on The Virgin of Port Lligat by Fray Angelico Chavez, was selected as one of the best books of 1959 by the Catholic Library Association
In the science-fiction novel Protector, by Larry Niven, a reproduction of The Madonna of Port Lligat is chosen as the personal ornamentation of the spacesuit belonging to Jack Brennan, a miner from the Belt who encounters an alien and is himself transformed into a hyper-intelligent, hyper-powerful protector of the human race.

7. Surrealistic Work Spaces
Take a common workspace we use in everyday activities and transform it into a surrealistic landscape. Incorporate fantasy imagery and symbolism by transforming existing objects and adding new objects.

8. Detail:
Look at the layers of color. It’s the same color pencil techniques you used in your flower studies.
Each object should have a min. of three colors layers on each other.
Cool shades!!
Warm Highlights!!

9. Exaggerate the colors and shadows The more contrast in values and colors the more 3D and realistic it will look.

13. Take a photo of the workspace
It should be up close and have he feel and appearance of a landscape
Make sure it has a foreground, middle-ground, and background.

15. Handscapes are an alternate project for this unit done every other semester

16. Handscapes
Use your hands to tell a story. The surrounding environment your hand is pictured in should have meaning and relate to what your hands are “doing”.
Must portray the hand as a prominent, totally unusual & unexpected ‘character’ in its environment. Show hands interacting w/that environment… passively, or actively.

17. What is the hands role in this picture?
How does it fit into the context of the image?

18. What are the hands in the picture symbolizing?

20. Create several studies of your hands-working on accuracy and realism.

21. Use emphasis and contrast to make the shapes come out of the page

23. Options on how to use your hands……
Transform your hand

26. Consider the perspective and vantage point as the viewer in your design.