Dali :vision of Hell

"The Vision of Hell (1962) is a highly sophisticated painting that juxtaposes Salvador Dali's earlier style, Surrealism, (for which he was most famous) with a more classical style of religious mysticism which he developed later in life.

Most critics believe that Dali's greatest works were those done during his Surrealistic period, (before the 1940's). It was then that Dali, greatly influenced by Freud's Interpretation of Dreams tried to enter the subconscious world while he was painting, in order to fathom subconscious imagery. To this end he tried various methods. For example, he attempted to simulate insanity while painting, and he tried setting up his canvas at the base of his bed to paint before sleeping and upon rising.

During this period of his life certain images repeated themselves in his art: eyes, hands, noses, bones, crutches, clouds, mountains, blood, soft bodies and/or objects. In Vision of Hell we find all of these symbols, called cliches by some critics, but, here they seem to be much more than a trite convention. They are an expression of Dali himself. Too Dali uses the techniques of double images, hidden appearances, counter appearances.

It is important to note that although in the early 1960's (the time when Vision of Hell was painted) Dali's art was pejoratively classified as "academic", "religious," and "mystic," and despite the fact that he was, at the time, often excluded from the company if Surrealists, Dali deliberately chose the lapse into his previous surrealist style to accomplish these portrayal of hell. Note, his old style, surrealism,dominates these portrayal of hell (the left side of the painting), while his newer style of "Religious Mysticism" is used on the right side of the painting in the portrayal of Our Lady of Fatima. A close look at Our Lady of Fatima shows that an experimental technique was used around the upper body of Our Lady. The paint has texture. It is interesting to note that Dali does not use his wife Gala as the subject for his portrayal of Mary, as he had in previous portrayals of Our Lady (The Madonna of Port Lligat (1949,1950)); however, in vision of hell Our Lady of Fatima does hold her hands open in a similar way as the Madonna of Port Lligat.

The central image in the painting is that of eight carving forks, that, in the form of a circle are piercing a body that, typical of Dali's earlier period, is soft. The parts most visible in this human form are the left chest, the left arm and the head. Note, too, the blood. Vision of Hell is Dali's portrayal of death. Whenever an artist seriously approaches the subject of death, we can expect profundity. When this part of the painting is placed side by side with Dali's famous birth painting, Geopoliticus Child Watching the Birth of the New Man, (1943) the comparison is startling. Both bodies are curved in a type of fetal position; there are large drops of blood; the arm, the navel and the breast are the central focus of attention. Vision of Hell would be well shown beside ...Birth of a New Man. One painting shows life, the other death.

Not to be dismissed is the elongated eye of the pierced victim. Eyes have always been a symbol for Dali, particularly in his own polymorphic self-portraits. His paintings The First Days of Spring, Illuminated Pleasure, The Enigma of Desire and The Persistence of Memory all show a head, a face and a prominent eye. Those eyes, however, are all closed. The long extended eye in Vision of Hell is open, as if to say, the victim's eyes have been opened at death. This eye is a double image, typical of Dali. From one side it seems to be a human eye, bent out of shape, from the other it is the eye of a strange creature (Bosch like) with its mouth wide open ready to take a bite.

Hieronymous Bosch Influenced Dali's Vision of Hell

Dali, as well as other surrealist painters, were greatly influenced by the Dutch painter, Hieronymous Bosch (1450-1516). Vision of Hell actually copies a part of Hieronymous Bosch's Hell, portrayed in the right hand panel of the Garden of Earthly Delights (triptych). The burning buildings shown in the top left if Dali's painting closely resemble Bosch's burning building in hell, and, interestingly, Dali also picks up from Bosch's inferno the image of the tattered flag, as well as a rectangular structure from which emanate four rays of light.

Crutches

In his earlier, much more famous works, Dali frequently employed crutches in his paintings. He, himself, says he finds the crutch to be "the significance of life and death...a support for inadequacy." (p.66) It is well known that Dali, for a long time, had a fetish about crutches, which stemmed from his youthful desire to place a crutch under the breast of