{"id":10232,"date":"2011-10-24T03:11:05","date_gmt":"2011-10-24T02:11:05","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=10232"},"modified":"2011-10-24T08:28:49","modified_gmt":"2011-10-24T07:28:49","slug":"soft-self-portrait-of-salvador-dali","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2011\/10\/24\/soft-self-portrait-of-salvador-dali\/","title":{"rendered":"Soft Self-Portrait of Salvador Dal\u00ed"},"content":{"rendered":"

\"softdali.jpg\"<\/a><\/p>\n

Yet another Dal\u00ed documentary, Soft Self-Portrait of Salvador Dal\u00ed<\/em><\/a> is a welcome arrival at the splendid Ubuweb for its being the source of a number of sequences that turn up in later Dal\u00ed documentaries, notably the scenes of the artist and wife Gala emerging from giant eggs, and Dal\u00ed clattering away at a piano in which a number of unfortunate cats have been imprisoned. Jean-Christophe Averty is the director, and the narration for the English version is by Orson Welles. Ubuweb gives the date as 1967 but it’s listed as 1970 on IMDB. Whatever the year, it’s certainly the end of the 1960s with Dal\u00ed appearing a little more sprightly than in the Russell Harty film. He also appears wearing a shaggy wig out of sympathy for the youth of the day. (We know now that his sympathy for young men and women was more than a cultural interest<\/a>.) Amid the usual boasting, tantrums and rather tiresome antics the filmmakers manage to come away with a couple of insights: at this point Gala was still appearing in public with Salvador, something she refused to do in later films. And there’s a trip by boat to a rocky coastline which Welles’ narration asserts was the inspiration for a number of the famous paintings. In all, it’s 52 minutes of craziness that’s recommended for anyone interested in Dal\u00ed’s art.<\/p>\n

See also:<\/strong> Photographer David McCabe’s best shot<\/a> in which that wig makes an appearance in the presence of another wig-wearing artist.<\/p>\n

Previously on { feuilleton }
\n\u2022 Mongolian impressions<\/a>
\n\u2022 Hello Dali!<\/a>
\n\u2022 Dal\u00ed and the City<\/a>
\n\u2022 Dal\u00ed\u2019s Elephant<\/a>
\n\u2022 Dal\u00ed in Wonderland<\/a>
\n\u2022 Alejandro Jodorowsky\u2019s Dune<\/a>
\n\u2022 Dirty Dal\u00ed<\/a>
\n\u2022 Impressions de la Haute Mongolie revisited<\/a>
\n\u2022 Dal\u00ed and Film<\/a>
\n\u2022 Salvador Dal\u00ed\u2019s apocalyptic happening<\/a>
\n\u2022 Dal\u00ed Atomicus<\/a>
\n\u2022 Impressions de la Haute Mongolie<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Yet another Dal\u00ed documentary, Soft Self-Portrait of Salvador Dal\u00ed is a welcome arrival at the splendid Ubuweb for its being the source of a number of sequences that turn up in later Dal\u00ed documentaries, notably the scenes of the artist and wife Gala emerging from giant eggs, and Dal\u00ed clattering away at a piano in … Continue reading “Soft Self-Portrait of Salvador Dal\u00ed”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,7,44,41,18],"tags":[718,3015,762,2713,87,119],"class_list":["post-10232","post","type-post","status-publish","format-standard","hentry","category-art","category-film","category-painting","category-sculpture","category-surrealism","tag-alejandro-jodorowsky","tag-jean-christophe-averty","tag-orson-welles","tag-russell-harty","tag-salvador-dali","tag-ubuweb"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-2F2","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/10232","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=10232"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/10232\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=10232"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=10232"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=10232"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}