Hard objects become inexplicably limp in this bleak and infinite dreamscape, while metal attracts ants like rotting flesh. Mastering what he called “the usual paralyzing tricks of eye-fooling,” Dalí painted with “the most imperialist fury of precision,” he said, but only “to systematize confusion and thus to help discredit completely the world of reality.” It is the classic Surrealist ambition, yet some literal reality is included, too: the distant golden cliffs are the coast of Catalonia, Dalí’s home.
Those limp watches are as soft as overripe cheese—indeed, they picture “the camembert of time,” in Dalí’s phrase. Here time must lose all meaning. Permanence goes with it: ants, a common theme in Dalí’s work, represent decay, particularly when they attack a gold watch, and they seem grotesquely organic. The monstrous fleshy creature draped across the painting’s center is at once alien and familiar: an approximation of Dalí’s own face in profile, its long eyelashes seem disturbingly insect-like or even sexual, as does what may or may not be a tongue oozing from its nose like a fat snail.
The year before this picture was painted, Dalí formulated his “paranoiac-critical method,” cultivating self-induced psychotic hallucinations in order to create art. “The difference between a madman and me,” he said, “is that I am not mad.”
Publication excerpt from From MoMA Highlights: 375 Works from The Museum of Modern Art, New York (New York: The Museum of Modern Art, 2019)
Dalí rendered his fantastic visions with meticulous verisimilitude, giving the representations of dreams a tangible and credible appearance. In what he called "hand painted dream photographs," hard objects become inexplicably limp, time bends, and metal attracts ants like rotting flesh. The monstrous creature draped across the painting's center resembles the artist's own face in profile; its long eyelashes seem insectlike or even sexual, as does what may or may not be a tongue oozing from its nose like a fat snail.
Gallery label from 2015.