"Fixture and hand" - one of the classic paintings of Salvador Dali of the 20s. The artist at that time experimented a lot, looking for his own style.
Here Dali continues his experiments with surrealism. You can already see the famous mystical desert, going to infinity. Already you can see some of the details and manner of drawing, which were usual for the artist in later periods of creativity.
The space depicted in the picture is completely invented. This landscape is partially connected with “normal” reality, except for the hills in the background. The main role is given to the mannequin, a certain adaptation.
Fixture - these are two unusual geometric shapes, standing one on top of the other. The lower figure stands on the ground, on thin legs and with something resembling an equally thin cane. The upper figure rests on the lower without third-party devices, balancing with a sharp end.
If you look at the picture “Adaptation and the Hand” from the point of view of symbolism, you can see that everything monumental only seems to be such, but in reality everything is quite unsteady.
In the picture you can see other images traditional for Dali: a female torso appearing in heaven (only a torso - without arms, legs and head), a statue. Almost all the objects depicted in the picture are partially visible and partially only marked. This creates an impression of unsteadiness, inconstancy. The device is crowned by a huge blood-red hand that grew directly from the device.
In this picture, Salvador Dali used some of the development of the French surrealist Yves Tanguy. First of all, the influence of Tangi can be traced in the triangular outlines of the device. The position of the device, as well as the cast shadow, were borrowed from the Italian surrealist Giorgio de Chirico.
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