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拍品专文
This work is sold with a photo-certificate from Robert Descharnes.
Made at the pinnacle of Dalí's involvement with the ballet, Sombrero de tres Picos is related to his design for the backcloth for Act 2 of the 1949 production of the ballet El Sombrero de Tres Picos at the Ziegfeld Theater in New York. This ballet, known in French as Le Tricorne and in English as The Three-Cornered Hat is a well-known and highly popular ballet inspired by Pedro de Alarcón's nineteenth-century comic classic El sombrero de tres picos, first staged in 1919 by Serge Diaghilev's Ballet Russes. The emphasis of the 1949 production was on the strong Spanish nature of the ballet. Spanish dancing was enjoying huge popularity in the United States in the late 1940s and in collaboration with the dancer and choreographer Ana Maria, Dalí was asked to provide an overtly Spanish feel to the production. His response was to create a distinctly Spanish landscape, reminiscent in some respects of Joan Miró's The Farm, only here populated by typically Dalinean levitating trees, and floating sacks – creating a sense of fantastical levitation visually intended to echo the movement of the dancers on the stage before it.
Made at the pinnacle of Dalí's involvement with the ballet, Sombrero de tres Picos is related to his design for the backcloth for Act 2 of the 1949 production of the ballet El Sombrero de Tres Picos at the Ziegfeld Theater in New York. This ballet, known in French as Le Tricorne and in English as The Three-Cornered Hat is a well-known and highly popular ballet inspired by Pedro de Alarcón's nineteenth-century comic classic El sombrero de tres picos, first staged in 1919 by Serge Diaghilev's Ballet Russes. The emphasis of the 1949 production was on the strong Spanish nature of the ballet. Spanish dancing was enjoying huge popularity in the United States in the late 1940s and in collaboration with the dancer and choreographer Ana Maria, Dalí was asked to provide an overtly Spanish feel to the production. His response was to create a distinctly Spanish landscape, reminiscent in some respects of Joan Miró's The Farm, only here populated by typically Dalinean levitating trees, and floating sacks – creating a sense of fantastical levitation visually intended to echo the movement of the dancers on the stage before it.