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Tiny Surrealism: Salvador Dal And The Aesthetics Of The Small,Used
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Though one of the most popular artists of the twentieth century, Salvador Dal is typically seen as peripheral to the dominant practices of modernist painting. Roger Rothmans Tiny Surrealism argues that this marginal position is itself a coherent response to modernism. It demonstrates how Dals practice was organized around the logic of the inconsequential by focusing on Dals identification with things that are literally tiny (ants, sewing needles, breadcrumbs, blackheads, etc.) as well as those that are metaphorically small (the trivial, the weak, the superficial, and the anachronistic). In addition to addressing the imagery of Dals paintings, Tiny Surrealism demonstrates that the logic of the small was a fundamental factor in Dals adherence to the techniques of miniaturist illusionism. Long derided as antimodernist and kitsch, Rothman demonstrates that Dals style was itself a strategy of the small aimed at subverting the dominant values of modern painting.Tiny Surrealism not only examines Dals pictorial work, it also probes the artists many public pronouncements and private correspondences. By attending to the peculiarities of Dals technique and examining overlooked aspects of his writings, Tiny Surrealism is the first study to detail his deliberate subversion of modernist orthodoxies.
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