The Man who Fell to Earth

René Magritte’s L’ami intime (The Intimate Friend), 1958, goes up for auction at Christie’s in London, UK, with an estimated price of £30m-£50m ($37m-$63m). Photo: Kirsty Wigglesworth/AP.

A Platonic Love

René Magritte, Les Amants (IV), 1928. Photo: Private collection via DailyArt Magazine.

《愛撤防》 (Love Disarm’d)

René Magritte, L’Amour Désarmé (Love Disarmed), 1935. Private collection. Courtesy of The New Criterion, November 2013 issue.

Destino

The Flight of Time

London, England: An employee walks by some exhibits by Alberto Giacometti during a preview of a new exhibition at Tate Modern. Photo: Tim Ireland/EPA.

La corde sensible

René Magritte, La corde sensible, 1960
Photo: Daniel Leal-Olivas/AFP/Getty Images

On n’oublie rien (One forgets nothing)

Alberto Giacometti, L’homme au doigt, 1947. Photo: Alberto Giacometti Estate, ACS/DACS, 2017.

Dalinian Dancer

Dalí’s Dancer (1949) reflects his admiration for the art of dance, especially the Spanish Flamenco. Photo: Isadora Duncan.

Alice in Wonderland

Dalí’s Alice in Wonderland (1977) is a hymn to the eternal girl who don’t get overwhelmed by the inhabitants of the surrealist world. Photo: Isadora Duncan.

“I seated ugliness on my knee, and almost immediately grew tired of it”. Salvador Dalí

Unicorn

The unicorn is a mythical creature prominent in legends as an intricately linked symbol of purity. The horn of a unicorn is believed capable of neutralizing any poison. In his Unicorn (1977), Dalí chose to portray the unicorn as a phallic figure whose horn penetrates a stone wall through a heart-shaped opening, from which a drop of blood seems to be slowly falling. The nude, reposing female stretched out in the foreground at the hooves of the animal and defended by the mythical beast, underlines the sensual nature of this sculpture. Photo: Isadora Duncan.

Homage to Terpsichore

Terpsichore is one of the famed nine Mythological muses. In creating his Homage to Terpsichore (1977), Dalí uses a reflected image, setting the soft, carnal muse against the hardened, statuesque one. Photo: Isadora Duncan.

Dance of Time I

Dance of Time I (1979) is the most well-known and beloved of Dalí’s iconic images; the fluidity of time is represented through the melting watch as time not only moving, but dancing in rhythm to the beat of the universe. Photo: Isadora Duncan.

Woman Aflame

Woman Aflame (1980) unites two of Dalí’s obsessions: fire, and a female figure with drawers. Photo: Isadora Duncan.

Surrealist Piano

The Surrealist Piano (1954) is one of Dalí’s major iconoclastic symbols. The artist has chosen to transform the banal woodden legs of a piano, replacing them with dancing female legs, thus creating an animate, joyous instrument that can dance as well as play. Photo: Mado Flynn.

Between Dream and Reality

Salvador Dalí exhibition “Between Dream and Reality” with over 100 works in the medieval town Pietrasanta, Lucca, Italy (November 12, 2016 – February 7, 2017). The Pietrasanta Cathedral and the evocative spaces of the church and the cloister of Saint Augustine are actually hosting over one hundred works by Salvador Dalí. Photo: Isadora Duncan.

Not only / but also

Visit in Night, 1951, by 岡上淑子によ (Toshiko Okanoue) A collage work by 岡上淑子によ (Toshiko Okanoue), a Japanese artist who independently developed her style by pasting images from fashion magazines in surreal arrangements. Photo © 2015 岡上淑子によ (Toshiko Okanoue).

Where Do I Put The Sofa?

Salvador Dalí’s Lobster Telephone and Mae West Lips Sofa – two of the most famous surrealist objects ever created – are among hundreds of artworks that will be auctioned by Christie’s in December, in a sale expected to raise up to £2.5m. The Sofa is estimated at up to about £400,000, and the Lobster Telephone up to £250,000. Photo: CHRISTIE’S IMAGES LTD. 2016.

Bureau of Surrealist Research

René Magritte, Les Amants, Le Perreux-sur-Marne, 1928. In this unsettling image — the first in a series of four variations of Les Amants that Magritte painted in 1928 — the artist invokes the cinematic cliché of a close-up kiss but subverts our voyeuristic pleasure by shrouding the faces in cloth. The device of a draped cloth or veil to conceal a figure’s identity corresponds to a larger Surrealist interest in masks, disguises, and what lies beyond or beneath visible surfaces. The melodramatic scene may also relate to the graphic illustrations that accompanied pulp fiction and thriller stories, which Magritte’s friend Paul Nougé, in a letter from 1927, encouraged the artist to emulate. Image and caption courtesy of MoMA (Museum of Modern Art), New York, United States.

比賽造假 (Truqué)

René Magritte (Les Amants, 1928)

Blueback

Pablo Picasso, Blue Nude, 1902. Courtesy of WikiArt.