![]() ![]() With Christ of Saint John of the Cross, Dalí did the same in order to leave only the "metaphysical beauty of Christ-God". The crown of thorns is missing from Christ's head as are the nails from his hands and feet, leaving his body completely devoid of the wounds often closely associated with the Crucifixion. Jesus' face is turned away from the viewer, making it completely obscured. While he did attempt to distance himself from the Surrealist movement after his development of nuclear mysticism, in Corpus Hypercubus Dalí incorporates dreamlike features consistent with his earlier work, such as the levitating Christ and the giant chessboard below. Upon completing Corpus Hypercubus, Dalí described his work as "metaphysical, transcendent cubism". ![]() The union of Christ and the tesseract reflects Dalí's opinion that the seemingly separate and incompatible concepts of science and religion can in fact coexist. Some noticeably classic features are the drapery of the clothing and the Caravaggesque lighting that theatrically envelops Christ, though like his 1951 painting Christ of Saint John of the Cross, Corpus Hypercubus takes the traditional biblical scene of Christ's Crucifixion and almost completely reinvents it. ![]() Consistent with his theory of nuclear mysticism, Dalí uses classical elements along with ideas inspired by mathematics and science. Composition and meaning Ĭorpus Hypercubus is painted in oil on canvas, and its dimensions are 194.3 cm × 123.8 cm (76.5 in x 48.75 in). Juan de Herrera's Treatise on Cubic Forms was particularly influential to Dalí. Before painting Corpus Hypercubus, Dalí announced his intention to portray an exploding Christ using both classical painting techniques along with the motif of the cube, and he declared that "this painting will be the great metaphysical work of summer". That same year, to promote nuclear mysticism and explain the "return to spiritual classicism movement" in modern art, he traveled throughout the United States giving lectures. The atomic bombing at the end of World War II left a lasting impression his 1951 essay "Mystical Manifesto" introduced an art theory he called "nuclear mysticism" that combined his interests in Catholicism, mathematics, science, and Catalan culture in an effort to reestablish classical values and techniques, which he extensively utilized in Corpus Hypercubus. It is one of his best-known paintings from the later period of his career.ĭuring the 1940s and 1950s Dalí's interest in traditional surrealism diminished and he became fascinated with nuclear science, feeling that "thenceforth, the atom was favorite food for thought". A nontraditional, surrealist portrayal of the Crucifixion, it depicts Christ on a polyhedron net of a tesseract (hypercube). Metropolitan Museum of Art, New York CityĬrucifixion (Corpus Hypercubus) is a 1954 oil-on-canvas painting by Salvador Dalí. JSTOR ( October 2016) ( Learn how and when to remove this template message).Unsourced material may be challenged and removed.įind sources: "Crucifixion" Corpus Hypercubus – news Please help improve this article by adding citations to reliable sources. ![]() We respond to the question raised by Roger Rothman concerning Object-Oriented Idealism in Dalí’s work by showing pivotal changes to Dalí’s ontological outlook, from Idealism to Realism, across the aforementioned period, positing the Ontographic intentionality of Dalí’s ontological project in Surrealist art.This article needs additional citations for verification. Through the careful analysis of paintings and original texts from this period, we establish the antecedents for Dalí’s theorization of Surrealist objects in Cubism and Italian Metaphysical art, which we collectively refer to as ‘Ontographic art,’ drawing parallels with the tenets of Graham Harman’s and Ian Bogost’s objectoriented philosophical programmes. The practice of Ontography deployed by OOO, clarified and expanded in this essay, produces a highly productive framework for analyzing Salvador Dalí’s ontological project between 19. ![]()
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