Art History Animalia

#InsectWeek fashion:

Elsa Schiaparelli (Italian, 1890–1973) for Maison Schiaparelli (French, founded 1927) Necklace & Suit, Fall 1938 collection necklace: rhodoid (cellulose acetate plastic) & metal; suit: rayon, silk, plastic Metropolitan Museum of Art 2009.300.1234, 2009.300.2374

Necklace: "From the fall 1938 pagan collection, this iconic necklace epitomizes Schiaparelli's Surrealist tendencies, perhaps more than any other design she executed because of the unreal idea of insects crawling on your skin as a fashion statement. Because of the clear Rhodoid, a type of cellulose acetate plastic, the multicolored insects seem to be resting on the wearer's skin. Rhodoid was a newly developed material and Schiaparelli was unafraid of using inventive materials for her designs. She appreciated the avant-garde quality and element of surprise infused into the design by using unconventional materials. The pagan collection was inspired by Botticelli's lush paintings; therefore flowers, woodland creatures, foliage, and insects decorated dinner suits, evening gowns and accessories. The multicolored metal insects were also seen securing a ribbon hatband on a doll hat and resting on the collar of a suit [shown here]. This necklace was worn by Millicent Rogers (who also owned the suit previously mentioned), one of Schiaparelli's best clients who was brave enough to wear her outré designs."

Suit: "Elsa Schiaparelli was influenced by the Surrealist art scene of Paris in the 1930s, and references to that movement frequently materialize in her designs. Artists were using collage, photography and paint as their medium; Schiaparelli was using clothing. Here, in a suit from her fall 1938 Pagan collection, she incorporates three elements that have become hallmarks of her career-- interesting fabric, Surrealist elements and unconventional buttons. Schiaparelli scoured fabric houses to find fabrics that perfectly translated her artistic ideas. The crepe used for this jacket and dress is highly textured, adding a rough dimension to the overall design. The Surrealist elements here, the plastic bug ornaments, are shockingly realistic and in juxtaposition to the delicate pink silk of the collar where they rest. As Dilys Blum states in Shocking! The Art and Fashion of Elsa Schiaparelli, many designs from this collection featured earthy decorations inspired by Botticelli's paintings, like flowers, fruits, animals and insects. Buttons were another form of expression for Schiaparelli. In this case, the leaf-shaped buttons represent foliate forms, another common motif seen throughout the Pagan collection. This unusual ensemble would require a certain level of fashion bravado, and the previous owner, Millicent Rogers, definitely possessed that."

Salvador Dalí was born #OTD (11 May 1904 – 23 Jan 1989)…and it’s also #Baturday so:

The Angel of Melancholy (from the Aurelia Suite), 1972

Signed in pencil, edition of 175

Etching, aquatint, drypoint, 37.5x57.5cm

#TwoForTuesday:

Félix Labisse (French, 1905–1982)

Les scorpions, 1959 gouache, 31 x 54 cm

Combat de scorpions, n.d. lithograph, 43 x 57.5 cm

For #Caturday:

Remedios Varo (Spanish, 1908-1963) El Gato Helecho {The Fern Cat], 1957 oil on canvas, 75×32 cm

It’s #WorldAnteaterDay so here’s Salvador Dali’s (1904-1989) anteater bookplate design c. 1930 for friend & Surrealist movement founder André Breton (1896-1966), whose nickname became “le tamanoir.” Bonus photo of Dali walking a Giant Anteater (Myrmecophaga tridactyla) in Paris in 1969.

Salvador Dalí was born #OTD (11 May 1904 – 23 Jan 1989).

Swans Reflecting Elephants, 1937 oil on canvas, 51 x 71 cm private collection

>Swans Reflecting Elephants (1937) is from Dali's Paranoiac-critical period. Painted using oil on canvas, it contains one of Dali's famous double images. The double images were a major part of Dali's "paranoia-critical method," which he put forward in his 1935 essay "The Conquest of the Irrational." He explained his process as a "spontaneous method of irrational understanding based upon the interpretative critical association of delirious phenomena." Dali used this method to bring forth the hallucinatory forms, double images and visual illusions that filled his paintings during the Thirties.

As with earlier Metamorphosis of Narcissus, Swans Reflecting Elephants uses the reflection in a lake to create the double image seen in the painting. In Metamorphosis, the reflection of Narcissus is used to mirror the shape of the hand on the right of the picture. Here, the three swans in front of bleak, leafless trees are reflected in the lake so that the swans' heads become the elephants' heads and the trees become the bodies of the elephants. In the background of the painting is a Catalonian landscape depicted in fiery fall colors, the brushwork creating swirls in the cliffs that surround the lake, to contrast with the stillness of the water.< https://www.dalipaintings.com/swans-reflecting-elephants.jsp

[image © Salvador Dalí, Fundació Gala-Salvador Dalí]