Salvador Dalí citáty

strana 4

„Neberu drogy. To já jsem droga.“

„Neměj strach z dokonalosti. Nikdy jí nedosáhneš.“

„Inteligence bez ambice je pták bez křídel.“

„Když mi bylo šest, chtěl jsem být kuchařem. V sedmi letech jsem chtěl být Napoleonem. Od té doby mé ambice neustále rostou.“

„Nakladatel mě požádal, abych napsal knihu o technice malby. Napsal jsem ji. Když jsem ji přečetl, naučil jsem se malovat.“

„Krutost je přímočarostí lásky.“

„Naprosto miluji život.“

„Jsou tu i dny kdy přemýšlím, že zemřu z předávkování spokojeností.“

„Války nikdy nikoho nezranily, kromě těch, kdo v ní zemřeli.“

„Slzy velkých lidí jsou z krve.“

„Je tu jen jeden rozdíl mezi šílencem a mnou. Šílenec si myslí, že je duševně zdravý, zatímco já vím, že jsem šílený.“

„Inspiraci dostávám ve 4 hodiny ráno, když se jdu na WC vyčurat.“

„Nejsem podivín. Já prostě jen nejsem normální.“

„V šesti letech jsem se chtěl stát kuchařem, v sedmi Napoleonem. Pak jsem se stal Dalím - jaká to gradace!“

„Jednoho dne budeme muset oficiálně přijmout, že to, co jsme nazvali realita, je ještě větší iluze než svět snů.“

„Žiji sen.“

„Elegantní žena s hloupým výrazem je nepřípustná. Na druhé straně dokonalé kráse není nic vlastnějšího než přihlouplý výraz. Venuše Milóská je toho nejjasnějším důkazem.“

„Vše mě předělává, ale nic mě nemění.“

„Chyby jsou téměř vždy z posvátného charakteru. Nikdy se je nesnažte napravit. Naopak: odůvodněte je, důkladně se naučte jim porozumět. Teprve potom je možné je sublimovat.“

„Bůh tvořil bez zvláštního přesvědčení. Bylo nutné, aby něco udělal.“

„Rozdíl mezi klamnými vzpomínkami a těmi pravými je stejný jako u šperků: jsou to vždy ty falešné, které nejvíce vypadají jako pravé, nejvíce oslnivě.“

„Již od raného dětství mám bludný zvyk považovat sám sebe za odlišného a chovat se odlišně od ostatních smrtelníků.“

„Nebe nelze najít nahoře ani dole, vpravo ani vlevo, nebe lze najít přesně ve středu prsou člověka, který má víru.“

„Jediný rozdíl mezi mnou a šílencem je ten, že já nejsem šílenec.“

„Malování je nekonečně minutová část mé osobnosti.“

„Ti, kteří nechtějí nic napodobovat, nic nevyrábějí.“

„Každé ráno když se probudím, zažívám znovu to nejvyšší potěšení - že jsem Salvador Dalí.“

„Žárlivost ostatních malířů, byla vždy teploměrem mého úspěchu.“

„Sláva se má ke krutosti jako růže k růžovému keři.“

„Čas není stálý. Může být manipulován, natažen, zastaven či dokonce zvrácen…“

„Pokud si celou dobu říkáš "Jsem génius", časem se staneš géniem.“

„Sláva, podobně jako slunce, se odráží ve všech vodách, v těch nejčistších i v těch zahnívajících.“

„Vždy jsem viděl, co bylo pro ostatní neviditelné.“

„Tajemství mého vlivu vždy bylo to, že zůstalo tajemstvím.“

„Surrealistika je ničivá, ale ničí pouze to, co považuje za pouta omezující naši představu.“

„Nechte mé nepřátele sežrat jeden druhého.“

„Skromnost je má přirozená vada.“

„Básník musí víc než kdokoliv jiný svá slova dokázat.“

„Neobtěžuj se být moderní. Naneštěstí je to věc, při které ať už se snažíš jakkoliv, nemáš šanci se jí vyhnout.“

„Jediný rozdíl mezi surrealisty a mnou je ten, že já jsem surrealista.“

„Peníze slouží k tomu, abychom učinili všechno, co jsme si nepřáli po stránce krásy a dobra.“

„Omyly mají skoro vždycky posvátný charakter.“

„Dej mi dvě hodiny denní aktivity a zbylých dvaadvacet vezmu do snů.“

„Ach, Salvadore, už znáš celou pravdu, když budeš hrát génia, budeš jím!“

„Nikdo nemůže pochopit Dalího, protože já nikdy nepochopil mé dílo. Dalí nikdy nepochopil jedinou Dalího malbu, protože Dalí vytváří jen záhady.“

“Telephone, pedal washbasin, white refrigerators gleaming with Ripolin [French paint], bidet, small phonograph.... objects of authentic and pure poetry (MPC p. 11).... The Parthenon was not built as a ruin. It was built on a new surface without patina, like our automobiles. / we will not always bear on our shoulders the weight of our father's corpse.”

“This book ['Diary of a Genius', by Dali] will prove that that the daily life of a genius, his sleep, his digestion, his ecstasies, his nails, his colds, his blood, his life and death are essentially different from those of the rest of mankind.”

“.. the paint marks [in Impressionist paintings] placed apparently without order and which suddenly became magnificently ordered if one knew how to make the right distance.... to communicate a deep, sun-drenched image of a stream, landscape or face.... My eyes were popping out of my head.”

“Ever since the French revolution there has developed a vicious, cretinizing tendency to consider a genius (apart from his work) as a human being more or less the same in every sense as other ordinary mortals. This is wrong. And if this is wrong for me, the genius of the greatest spiritual order or our day, a true modern genius, it is even more wrong when applied to those who incarnated the almost divine genius of the Renaissance, such as Raphael.”

“Up there!'. Wonderful words! All my life has been dominated by these antagonisms: high and low. In my childhood I tried desperately to be high up.”

“The Italian metaphysical movement [initiated by De Chirico ] started from the spiritual reality, a consequence of the physical miracle and it aspects grouped on an immaterial plane; all this formed a new spectral reality, in order to attain maximal, almost erotic creativity in touch. The Cubists, on the other hand, starting from this sensual-idealistic touch, found a pure, new form of spirituality. Lorca is one of those who have reached this new form of miracle by following the paths of the greatest incredulity. He does not even believe in his own hands, unless it be to turn one-legged physiological and abstract tables.”

“Where is the real? All appearance are deceitful, the visible surface is deceptive. I look at my hand... It is nerves, muscles, bones. Let us go deeper: it is molecules and acids. Further still: it is an impalpable waltz of electrons and neutrons. Further still: an immaterial nebula. Who can prove that my hand exists?”

“It seems to me perfectly obvious when my enemies, my friends and the public in general pretend not to understand the meaning of the images that arise arid that I transcribe in my pictures, How can you expect then to understand them when I myself, who am their "maker", understand them as little?”

“Myself at the age of six, when I believed I was a little girl, raising with a very great care the skin of the sea in order to observe a dog sleeping in the shadow of the water.”

“Surrealism in its early period offered specific methods to bring images closer to concrete irrationality. These methods, based on the exclusive passive and receptive role of the 'surrealist subject', are bankrupt and are giving way to new surrealist methods for the systematic exploration of the irrational... The new delirious images of concrete irrationality suggest their physical, real 'possibility'; they go beyond the domain of psycho-analysable fantasies and 'virtual' representations... Against the dream memory and impossible, virtual images of purely receptive states that one can only recount, the physical facts of 'objective' irrationality with which one can already hurt oneself.”

“It was in 1929 that Salvador Dali [Dali is writing about himself] brought his attention to hear upon the internal mechanism of paranoiac phenomena and envisaged the possibility of an experimental method based on the sudden power of the systematic associations proper to paranoia; this method afterwards became the delirio-critical synthesis which hears the name of "paranoiac-critical activity". Paranoia: delirium of interpretive association bearing a systematic structure. Paranoiac-critical activity: spontaneous method of irrational knowledge based upon the interpretive-critical association of delirious phenomena.”

“It is under such cultural circumstances that our contemporaries, systematically cretinised by the mechanicism and the architecture of auto-punition, by psychological bureaucratic congratulations, by ideological disorder and imaginative fasting, by affective paternal hungers of all kinds, seek in vain - to bite into the doting and triumphal sweetness of the plump, atavistic, tender, militarist and territorial hack of some hitlerian nurse, in order at last to be able, no matter how, to communicate with the totemic consecrated host that has just been elevated in front of their own noses and which, as is known and understood, was nothing else than the spiritual and symbolic nourishment that catholicism offered during the centuries to appease the cannibal frenzy of moral and irrational hungers.”

“It ['The Great Masturbator', 1929] represented a large head, yellow like wax, with very red cheeks, long eyelashes and an imposing nose compressed against the ground. This face had no mouth, and in place of the mouth an enormous lobster was hooked. The lobster's belly was decomposing and full of ants. Some of these ants were scurrying through the space that would have been occupied by the non-existent mouth of the great anguished face, whose head ended in 1900-style architecture and ornamentation. The title of the painting was The Great Masturbator.”

“Surrounded by countless people who murmur my name and call me 'maître', I am about to inaugurate the exhibition of my one hundred illustrations of the Divine Comedy at the Galliera Museum.”

“But I very early realized, instinctively, my life formula: to get others to accept as natural the excesses of one's personality an thus to relieve oneself of his own anxieties by creating a sort of collective participation.”

“I am Surrealism.”

“Men who fuck easily, and can give themselves without difficulty, have only a very diminished creative potency... Look at Leonardo da Vinci, Hitler, Napoleon, they all left their mark on their times, and they were more or less impotent.”

“So, André Breton, if tonight I dream I am screwing you, tomorrow morning I will paint all of our best fucking positions with the greatest wealth of detail.”

“I categorically refused to consider the surrealists as just another literary and artistic group. I believed they were capable of liberating man from the tyranny of the 'practical, rational world'. I was going to become the Nietzsche of the irrational. I, the obsessed rationalist, was the only one who knew what I wanted: I was not going to submit to irrationality for its own sake, to the narcissist and passive irrationality others practiced. I would do completely the opposite. I would fight for the 'conquest of the irrational.”

“Bread has always been one of the oldest subjects of fetishism and obsession in my work, the first and the one to which I have remained the most faithful. I painted the same subject 19 years ago 'Basket of Bread, 1929.”

“It was in 1929 that Salvador Dali [Dali is writing about himself] brought his attention to hear upon the internal mechanism of paranoiac phenomena and envisaged the possibility of an experimental method based on the sudden power of the systematic associations proper to paranoia; this method afterwards became the delirio-critical synthesis which hears the name of "paranoiac-critical activity."”

“Just now I'm painting a beautiful woman, smiling, burnt to a crisp, with feathers of all colors, held up by a small die of burning marble; the die is in turn held up by a little puff of smoke, churned and quite; in the sky there are asses with parrot-heads, grasses and beach sand, all about to explode, all clean, incredible objective..”

“One might think that through ecstasy we would have access to a world as far from reality as that of the dream.”

“Don't be afraid of perfection. You will never attain it!”

“Shit scared them [the Surrealists]. Shit and arseholes. Yet, what was more human and more needful of transcending! From that moment, I know I would keep on obsessing them with what they most dreaded. And when I invented Surrealist objects, I had the deep inner fulfillment of knowing, while the [Surrealist] group went into ecstasies over their operation, that these objects very exactly reproduced the contradictions of a rectal sphincter at work, so that what they were thus admiring was their own fear.”

“In the subconscious you fuck ugly people, never beautiful, because the libido always desires something repulsive.”