![]() The Met’s copy was originally provided to collector Robert Lehman, who had asked Dali to do one because he couldn’t get his own authentic Vermeer. Be patient, this will all come together in the next paragraph. This implies that all the curved surfaces of the human body can be decomposed into logarithmic spirals. He discusses the concept in his book, “50 Secrets of Magic Craftsmanship” written in 1948, and asserts that he ‘discovered’ the ubiquity of the rhinoceros horn on July 5, 1952. He said that he adopted the logarithmic spiral the same way that Leonardo adopted the egg shape, Ingres spheres and Cézanne, cubes and cylinders. In a narwhal, it is more of a candy-cane spiral Dali uses both forms in his work. In the rhino this results in a curved horn. The rhinoceros horn is in the form of a logarithmic spiral, a biologically recognized pattern controlled by different growth rates in various parts of the horn. As a physicist, I can assure you that his Atomic Period ideas don’t pass the critical laugh test, but they do seem to have stimulated his thoughts on geometry. He asserted, for example, that the Virgin Mary called on the annihilation energy of anti-protons to ascend to heaven. Jump to the 1950’s, and Dali is in the midst of his Atomic Period seeking a melding of science and religion to prove the existence of God. It is the image in the book the Wife is reading. A copy of the original had hung in his father’s study, and his obsession with the painting showed up as early as 1928 in the 16 minute silent surrealist film, “An Andalusian Dog”. How, in the space of a paragraph or two, can anyone describe the Salvador Dali (5/11/04 – 1/23/89) interpretations of Vermeer’s Lacemaker? Let me delve into surrealism for a brief try. ![]() ![]() The Metropolitan Museum of Art, New York, USA.
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