The Persistence of Memory Wave Program (1931) is probably the most iconic and recognizable paintings of Surrealism. Regularly referenced in common tradition, the small canvas (24x33 cm) is typically known as "Melting Clocks", "The Gentle Watches" and "The Melting Watches". The painting depicts a dreamworld through which widespread objects are deformed and displayed in a bizarre and irrational approach: watches, strong and hard objects seem like inexplicably limp and melting within the desolate landscape. Dalí paints his fantastical imaginative and prescient in a meticulous and lifelike manner: he effortlessly integrates the actual and the imaginary in order "to systemize confusion and thus to help discredit utterly the world of reality". When asked about the limp watches, the artist compared their softness to overripe cheese saying that they present "the camembert of time". The idea of rot and decay is most evident in the gold watch on the left, which is swarmed by ants. Ants, a common motif in Dalí’s art are normally linked to decay and death.
He set the scene in a desolate landscape that was probably impressed by the panorama of his homeland, the Catalan coast. The influence of the Catalan landscape also appears in another component of the painting: the artist inserts himself into the scene in the type of an odd fleshy creature in the middle of the painting. In response to Dalí, the self-portrait was based mostly on a rock formation at Cap de Creus in northeast Catalonia. Some scholars have additionally drawn a parallel between the self-portrait and a section of Hieronymus Bosch's The Garden of Earthly Delights (1510-1515) - on the correct side of the left panel Bosch depicts rocks, bushes, and small animals that resemble Dalí’s profile with the distinguished nostril and long eyelashes. The melting watch, one of Dalí’s most powerful and potent motifs, continued to play an essential role in his artwork. Two a long time after The Persistence of Memory, Dalí recreated his famous work in the painting The Disintegration of the Persistence of Memory Wave (1952-1954). Because the title suggests, the painting exhibits the disintegration of the world depicted in the original painting, reflecting a world changed by the nuclear age.
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The painting confirmed Dalí’s growing interest in quantum physics: he added rectangular blocks that symbolize "the atomic power source" and Memory Wave Program missile-like objects that reference the atomic bomb. The Persistence of Memory was first proven in 1932 on the Julien Levy Gallery in New York. In 1934, the painting was anonymously donated to the Museum of Modern Art in New York, the place it remains till this present day. The Persistence of Memory (Spanish: La persistencia de la memoria) is a 1931 painting by artist Salvador Dalí, and one of his most recognizable works. First proven on the Julien Levy Gallery in 1932, since 1934 the painting has been in the collection of the Museum of Trendy Artwork (MoMA) in New York Metropolis, which acquired it from an nameless donor. It is extensively recognized and regularly referenced in standard culture, and typically referred to by extra descriptive (though incorrect) titles, resembling "Melting Clocks", "The Soft Watches" or "The Melting Watches".
The properly-identified surrealist piece launched the image of the soft melting pocket watch. It epitomizes Dalí's concept of "softness" and "hardness", which was central to his thinking on the time. As Dawn Adès wrote, "The delicate watches are an unconscious image of the relativity of space and time, a Surrealist meditation on the collapse of our notions of a set cosmic order". This interpretation means that Dalí was incorporating an understanding of the world launched by Albert Einstein's principle of special relativity. Asked by Ilya Prigogine whether this was in actual fact the case, Dalí replied that the comfortable watches were not impressed by the idea of relativity, however by the surrealist perception of a Camembert melting in the solar. It is feasible to recognize a human figure in the middle of the composition, within the strange "monster" (with numerous texture close to its face, and plenty of contrast and tone in the picture) that Dalí utilized in a number of contemporary pieces to characterize himself - the abstract kind turning into one thing of a self-portrait, reappearing incessantly in his work.