Persistence of Memory, 1931 by Salvador Dali

Before joining the Surrealist group formally in 1929, Salvador Dali imbued his work with a sense of the
fantastic and the extraordinary, personified in the work of the Old Masters such as Hieronymus Bosch
and in his own time by Giorgio de Chirico. In The Persistence of Memory, one of his earlier Surrealist
works, Dali was influenced by Bosch's Garden of Earthly Delights, which he combined with a Catalan
background, a feature of much of his early work. This painting was one of the first Dali executed using
his 'paranoid-critical' approach in which he depicts his own psychological conflicts and phobias.

Dali had studied psycho-analysis and the works of Sigmund Freud before joining the Surrealists. The
faithful transcription of dreams has always played a major role in Dali's paintings. To dream is easy for
him because of his Mediterranean heritage. A siesta, to him, has always opened the doors of a pre-sleep
period, the instant when one forget the presence of one's body. Dali's demonology owes a great deal to
his reveries. They have given birth to heterogeneous elements which he then brings together in his
paintings without always knowing why. In the works of the Surrealist period, Dali treated those
elements of disparate appearance with absolute realism which emphasized the proper character of each
one of them, making an exact copy from a document, a photograph, or the actual object, as well as
using collage.

The Persistence of Memory contains a self-portrait over which is draped a 'soft watch'. For Dali, these
'soft watches' represent what he called the 'camembert of time', suggesting that the concept of time
had lost all meaning in the unconscious world. The ants crawling over the pocket watch suggest decoy,
an absurd notion given that the watch is metallic. These 'paranoid-critical' images reflect Dali's reading
and absorption of Freud's theories of the unconscious and its access to the latent desires and paranoia
of the human mind, such as the unconscious fear of death alluded to in this painting,
Christ of Saint John of the Cross, 1951 by Salvador Dali

By far the most popular of all Dali's religious works is without a doubt his 'Christ of Saint John of the
Cross', whose figure dominates the Bay of Port Lligat. The painting was inspired by a drawing, preserved
in the Convent of the Incarnation in Avila, Spain, and done by Saint John of the Cross himself after he
had seen this vision of Christ during an ecstasy. The people beside the boat are derived from a picture by
Le Nain and from a drawing by Velazquex for The Surrender of Breda.

At the bottom of his studies for the Christ, Dali wrote:"In the first place, in 19150, I had a 'cosmic dream'
in which I saw this image in color and and which in my dream represented the 'nucleus of the atom'.
This nucleus later took on a metaphysical sense; I considered in 'the very unity of the universe', the
Christ! In the second place, when, thanks to the instructions of Father Bruno, a Carmelite, I saw the
Christ drawn by Saint John of the Cross, I worked out geometrically a triangle and a circle, which
aesthetically summarized all my previous experiments, and I inscribed my Christ in this triangle."

This work was regarded as banal by an important art critic when it was first exhibited in London.
Nevertheless, several years later, it was slashed by a fanatic while it was hanging in Glasgow Museum,
proof of its astonishing effect on people.
Artist: Pablo Picasso (1881 - 1973)

Title: Piero Crommelynck Avec Sa Femme Et Sa Fille Dans L'Atelier II (Piero Crommelynck With His
Wife And His Girl In The Workshop II), 1968

Reference: Baer 1846, Bloch 1856

Medium: Etching and aquatint on Rives paper

Image Size: 9 in x 13 in (23 cm x 33 cm)

Sheet Size: 15 in x 18 1/2 in (38.1 cm x 21.6 cm)

Framed Size: Approx. 26 in x 29 1/2 in (49.1 cm x 40.5 cm)

Artist: Pablo Picasso (1881 - 1973)

Title: Flûtiste et Jeune Fille au Tambourin (Flutist and Tambourine girl) from the Vollard Suite, 1934

Reference: Baer 412, Bloch 213

Series: Vollard Suite, 1933

Medium: Etching on Montval laid paper

Image Size: 11 in × 7 3/4 in (27.8 cm x 19.8 cm)

Sheet Size: 16 1/2 x 13 1/4 in (41.9 cm x 33.7 cm)

Framed Size: 22 7/16 in x 18 11/16 in (57 cm x 47.5 cm)

Edition: From the edition of 260 on Montval laid paper with the Vollard watermark published by
Ambroise Vollard, Paris

Pablo Picasso Flutist and Tambourine girl from the Vollard Suite, 1934 is a beautiful rendition of a flutist
serenading his lover, gazing lustfully in his direction. The flutist stares directly at us, the onlookers, with
cheeks puffed up with air, as if he wants to invite us along this merry event. The curvilinear lines of their
hair coil in spring like patterns—you can tell there is so much energy wrapped around this fine detail.
Picasso’s use of his lines here flows erratically yet effortlessly. The drapery around each figure’s body
grazes the curvatures of their physique. Energy ebbs and flows throughout this etching with a simple
and modest pictorial representation of two lovers. With a neoclassical theme running through this entire
work, it is clear Picasso admired works reminiscent of ancient Greek and Roman statues. Dynamic and
sensual in style, this exemplary work would be a fantastic addition to any collector or art appreciator.

Created in 1934, Pablo Picasso Flutist and Tambourine girl from the Vollard Suite, 1934 is an etching on
Montval laid paper. Hand signed by Pablo Picasso (Malaga, 1881 – Mougins, 1973) in pencil in the lower
right margin, from the edition of 260 on Montval laid paper with the Vollard watermark published by
Ambroise Vollard, Paris.
 Mother and Child

Vicente Manansala

Date: 1981

Style: Cubism

Genre: genre painting

Ang Magbabayo (Pounding Rice)

Vicente Manansala

Date: 1979

Style: Cubism

Genre: genre painting

Artist: Elmer Borlongan (Filipino, born 1967)

Title: Paglisan , 1996

Medium:oil on canvas

Size:76 x 61 cm. (29.9 x 24 in.)

Artist: Elmer Borlongan (Filipino, born 1967)

Title:Boy Reading , 1983

Medium:graphite on paper

Size:21.6 x 28 cm. (8.5 x 11 in.)

Benedicto Cabrera (Filipino, born 1942)

Title:Afternoon Break , 1992

Medium:acrylic on handmade paper

Size:112 x 71 cm. (44.1 x 28 in.)

ARTIST: Ben Cabrera

TITTLE: Lovers, 1992

Meduim: acrylic on canvas

48 x 40 in