List of selected artworks. Maps for the tour in the museum



Huellas dalinianas

6 july, 2004 - 18 october, 2004 /
Sabatini Building, Floor 2

The exhibition Huellas Dalinianas reflects Salvador Dalí’s (Figueras, 1904-1989) influence on the Spanish avant-garde, from 1929 until after the Civil War. This exhibition is part of the Museo Nacional Centro de Arte Reina Sofía’s programme celebrating the centenary of the birth of Catalan artist, which is accompanied by another almost simultaneous exhibition at the Museum, Dalí. cultura de masas.

Dalí's name is attached to the surrealist movement, although his conception of art and existence goes beyond any classification or trend. Around 1927 -and especially from 1929- the artist becomes a diffuser of formal elements typical of surrealist imagery. It is in this year that Dalí moves to Paris and fully devotes himself to this movement. From that moment he becomes a reference for the contemporary peninsula avant-garde, raised to the level of great artist such as Pablo Picasso, Juan Gris and Joan Miró. After making various artistic experiences in dialogue with Max Ernst, Hans Arp, Yves Tanguy and Miró and which wielded a provocative purging of the negation of art, Dalí’s artistic language crystallises definitely. Thereafter, Surrealism intensively spreads in Spain, to the point of becoming a priority for the artistic avant-garde until the Civil War.

Although there were many references that guided the different directions of Spanish Surrealism, the Dalinian shapes that play an undisputed main role are highlighted in this exhibition. In this way, the pieces created by various artists selected for this exhibition establish a formal or semantic dialogue with those produced by the Catalan artist. These "Dalínian traces", of a complex nature, can be defined as a sprinkling of alloys on the poetic and visual territory of Spanish artistic revival. These traces are reflected in the pieces displayed in the exhibition, sometimes emphatically, while in other cases the Dali’s traces are a reference to start many different projects. In any case they show a vivid presence in much of the manifestations of Spanish art from this period, on many different levels: Catalan, Aragonese or Tenerifian as well as in important aspects of the "poetics of Vallecas" that was widely diffused throughout the whole peninsula during the Thirties.

Exhibition´s details

Organized by: 
Museo Nacional Centro de Arte Reina Sofía, Sociedad Estatal de Conmemoraciones Culturales, Fundación Gala-Salvador Dalí and Museo Artium, Vitoria-Gasteiz
Jaime Brihuega
Exhibition Tour: 

Artium, Vitoria-Gasteiz (November 10, 2004 - February 27, 2005)


Current exhibitions

  • Exhibition view. Ree Morton. Be a Place, Place an Image, Imagine a Poem, 2015
    May 20 - September 28, 2015

    Ree Morton

    Be a Place, Place an Image, Imagine a Poem

  • Exhibition view. Carl Andre. Sculpture as Place, 1958-2010, 2015
    May 5 - October 12, 2015 Palacio de Velázquez. Parque del Retiro

    Carl Andre

    Sculpture as Place, 1958-2010

  • Vista de sala de la exposición. Federico Guzmán. Tuiza. Las culturas de la jaima, 2015
    April 16 – August 30, 2015

    Federico Guzmán

    Tuiza. The Cultures of the Bedouin Tent

  • Paul Klee. Baldgreis, 1922. Oil on cardboard, 40.3 x 37.4 cm. Kunstmuseum Basel © Kunstmuseum Basel
    March 18 - September 14, 2015

    White Fire

    The Kunstmuseum Basel Modern Collection

  • Pablo Picasso. Buveuse d’absinthe (The Absinthe Drinker), 1901. Oil on canvas, 81 x 60 cm. Im Obersteg Foundation, permanent loan to the Kunstmuseum Basel. Photography: Mark Gisler, Müllheim
    March 18 - September 14, 2015

    Collectionism and Modernity

    Two Case Studies: The Im Obersteg and Rudolf Staechelin Collections