OK. One announcement I have to make.
It's off to the lecture next week. The Ashmolean is very generously hosting a reception to which you are invited.
That is off the lecture at the Ashmolean next week. OK.
Well, this week I'm talking about Salvador Dali's book, The Tragic Myth of Malaise and Goodness.
And the selection really began in some research when I was doing all the manuscripts for this book.
And those will make a short appearance halfway through the lecture.
Now, I shall come back to to the book just to say that it was written in 1933, I believe, but it wasn't published until 1963.
So I rather fell out of the oath of the great sort of period of surrealist writings about madness when Daddy visited Freud in London in 1938.
He took with him his latest masterpiece, The Metamorphosis of Narcissus, which is this painting he had done.
He was very eager to discuss his treatment of Narcissus with the founder of psychoanalysis,
who published a paper on Moses's narcissism in 1914 and who often returned to the subject
daily and probably also wanted to see what Freud thought of his notion of critical paranoia,
which Dali had been developing in the context of surrealism. His interest in Matisse in the painting Metamorphosis of Narcissus,
Dali was testing a new development of what he called his paranoiac critical method.
And you can see here Narcissus himself. This is this golden boy who's wrapped in contemplation of his own image in the water,
admired by the little circle of the heterosexual group because of it.
Called it in the background he loves and he himself falls in love with his
image and inwardly shows in dissolving into the water and into the background,
but simultaneously becoming this bony, calcified hand holding an egg from which sprouts and narcissus.
Freud was ill and had difficulty hearing. Does he have?
He became more and more excited and trying to get across his ideas and failing.
Afterwards, Freud wrote to stiffen spine that while he had little time for the surrealists,
who, he said have apparently adopted me as their patron saint. He had found daily fascinating.
But as a typical fanatical type of Spaniard is an artist.
Dali, on his side made the best of his disappointment and reported that Freud told him that while he Freud was interested
in the paintings of the old Masters because of that innocent testimony to unconscious fears and desires,
Daly's mystery was manifested. OUTFRONT, he did the work of interpretation himself, which he also says was precisely what he intended to do.
Freud was not a fan of modern art and was suspicious of the degree of self-knowledge that Dulli showed.
Freud was not a fan either of asylum art.
That is the work of the inhabitants of the asylums whose strange, untutored pas had begun to interest the surrealists, amongst others.
He would have thought these pathological documents, not art. And I just put up here for the moment.
On the left, a very curious little watercolour collage by Max M's Cause Schizophrenia,
and on the right, untitled painting by an a resident of an asylum inside the United States.
He's actually Mexican called Ramutis. I'll come back to that moment.
Madness. Its definition, diagnosis, terminology and treatment have changed almost beyond recognition since the surrealists launched
their attack on the French psychiatric establishment and on the institution of a lunatic asylum.
In the early 1920s, I just one example I read yesterday, hysteria,
which was one of the service favourite sort of conditions, is now called conversion disorder.
So I'm not an expert in this. In 1968, Dr guest on Fabia, who was a psychologist with close connexions to the surrealists,
argued that it was the surrealists who led us, the psychologists, to rethink deeply the problem of madness.
Its value, the problem, its meaning, its limits and its dangers.
Fedya also said that nowadays that is 1968, he would only class schizophrenia as madness.
Thirty years was an unusual voice of support from within the medical profession for the surrealists.
He made the case that three dozen forced psychologists and psychiatrists to question assumptions about the unreason of insanity.
Cuckoo in his 1961 study, Maddis Matters and Civilisation.
A History of Insanity in the Age of Reason takes a similarly critical view of assumptions about sanity and insanity, rationalism and reason.
But he never mentions surrealism, serialism.
Other listeners attitudes are also open to criticism, romanticising conditions that could be deeply painful.
Taking the wild was of delirium,
of psychosis as models for a new literary genre and a hopeless disregard for the actual fate of the mentally disordered who crossed their paths.
I put up here on the screen some someone was actually the centre really of surrealism in the mid 1920s.
Antima to on the left and on the right is one of the letters that was published in the issue of Larbi.
So Surveils that he edited in 1925 and the first manifesto of surrealism all opened with a poetic defence of two conditions of mind that he sees,
as opposed to the narrow, utilitarian pragmatism and rationales the adult.
These two conditions, that of the child and the madmen,
it is their freedom to imagine or better to fail to see the difference between imagination and reality that he values.
And I quote from the first manifested by Portal. We all know that the insane over incarceration to a tiny number of legally reprehensible acts.
I am willing to admit that they are to some degree victims of their imagination.
But their profound indifference to the way we judge them allows us to suppose
that they derive a great deal of comfort and consolation from their imagination,
but they enjoy their madness sufficiently to. Do the thought that its validity does not extend beyond themselves?
And the third is to have other results released, which I referred to, edited by up to contained a whole series of incendiary tracts through a by opto.
He wrote the address to the Pope, addressed the Dalai Lama and addressed the Buddhist schools.
He wrote the letter to the Rectors European Universities, together with Michel Livy's, which recommends Sismondo.
And the letter to the Head Doctors of Lunatic Asylums was written by a Nobel Desnos and said or Falko.
And that is why I put up here. And this letter attacks the pause granted to the psychiatrist to lock up those suffering from mental illnesses,
which are Ilda ill-Defined and misunderstood. I quote.
And what an incarceration. We know that the asylums are far from being a Zeder.
I mean that the pun is the same French asylum and refuge.
Far from being refugees but a terrible j.s, the asylums under the names of science of justice are comparable to a barracks, a prison penal servitude.
We are far from. A large number of your boarders, thoroughly mad, according to the official definition, are arbitrarily interned.
We refuse to accept that the free development of a delirium as it is, as legitimate,
as logical as any other succession of human acts and ideas should be curbed.
The mad are the individual victims, like salaams of the social dictatorship of the Sunnis were amongst the first to register
changes in the attitudes to madness and its relationship to creativity and business.
And Arnst, as in this schizophrenia here, both made rudimentary marks,
the sign of their attempt to circumvent skill and consciousness and simulate a condition of madness.
It's quite interesting that the actual production of many of the LNA or the the those
who are incarcerated in asylums or outsider artists are actually quite unlike this.
I think this is of the Ramires one. Here is is a case in point.
They bear witness really took on parole Vakili to a pressing need to fill the spaces of the page or paper,
which is closer to the Misket embroils of all the initial in 1929,
Dulli joined the service movement and introduced his notion of paranoia, which he explicitly opposed to automatism.
His paintings could hardly be more different from the spontaneous and rudimentary that had hitherto held sway amongst the surrealists.
And I put up here one of the earliest of his paintings of 1929 at the moment,
that he decided to adopt this extraordinarily detailed and very meticulous, old fashioned method of painting.
This is this this painting actually seems to include little episodes from Freudian case histories, not breaks, basically,
and that a very explicit image of of sex in the bottom left hand corner, which apparently was a response to a challenge from Buñuel as had by day.
I dare you to go as far as you can. Don first explained what he meant by the mechanism of paranoia in his text called The
Rotting Donkey in the first issue of the city's Journal of the nineteen early thirties.
Survivors also discovered Rousseau in 1930. It was, he says, paranoia, a delirium of interpretation.
No, it was not. It's not the paranoia that we're familiar with. It's not them not of persecution complex.
It's a very different notion at the time. But psychologists and psychiatrists had a paranoia.
It's a delirium of interpretation in which the paranoiac uses the things of the external world to express their obsessional idea.
And in the third issue of this journal, the very one that introduced us through this object done reproduced his paranoiac faces for communication,
Paronella face and what the story is that he was looking for.
He was he was looking for a reproduction of a cubist painting by Picasso.
And he thought he saw him. And then he realised that, in fact, it was a postcard, an African hut.
You can see the African hump on the bottom here. And on top left is what he thought he saw.
Other was this this hut. Which the tunnel side looks like a face when you shoot this postcard with the of the house top to bottom.
Watson saw it as the head of the marquee disarmed and added so that the clouds here become the book that the good grip of the market aside.
So in a way, the misinterpreted, the interpretation, the delivered interpretation depends upon the individual obsession of the person who sees it.
That is a painting based on this. I think you can see that he you know,
he he flips things so that you can say definitely this this African heart with people sitting in front of it as a face.
And interesting, the kind of cubist head by Picasso that he I think he was looking for when he when he found this postcard.
Could be this something like this. This is the nine head of a woman's house.
And there's there's a very I think very he's slightly awkward, but nonetheless, I think very important aspect of this painting,
which which is related to does idea if you look at the top of the book above the eyes,
he will see that there's there was a switch between convex and concave.
You can see the it's it's always difficult to do.
You could either see it like two roofs that go over the eyes, like blocks of gabled roofs, or you can switch it and see those as CM cavities.
I don't know if you can, but I assure you it does work. There's a real backfill.
There's a real switch there, which I think was extremely important for the development of cubism.
And I think it's something that is sort of in the background of dunnies development of this notion of of of paranoia, which he which he goes on to.
I'm sorry to refine through the 1930s until it reaches the the debris of the sort of complexity and and care of a painting like this.
This is called apparition of a face and a fruit bowl on a beach.
And as you can see, it is a landscape and a dog.
As the head of the dog up there with the colour of the dog is also a bridge.
And I think I've got a detail. Yes. On the left hand side is the detail of it.
I mean, these are you have to actually get you know, it's a big painting.
You have to get very close to see to see the detail through the eye of the dog, which takes you into a landscape behind it.
I think Dolly was also very aware of the ideas of people interested in psychology,
of perception, gestalt psychologists at the time and at the bottom of the painting.
I'm sorry. There he painted in the dark rabbit.
That is the the very famous demonstration that was used by psychologists perception to show that you can see this.
Oh, so this configuration trying to find that point where they're either,
as a duck said with beak or as a rabbit with tasers as it is, but not both simultaneously the keeping it has to be one or the other.
It's not something that you can you can hold on to at the same time, not just just to come back metal's analysis in this context,
in the context of the notion of the interpretation of one configuration as another completely different one,
which Dalí began to develop in such a way that he could make a single configuration into six different actual images.
We were wondering the other day whether he is introducing another complexity here and that the idea that if you stare at this long enough,
those two separated forms, which normally O'Donnell would try to show you together,
he would try to show you a single configuration which you read either as narcissist or as the hand that he's that he's actually thinking.
If you stare long enough, the things will merge.
It will become that also is sort of a delivery of a stereoscopic theorem.
Anyway, it's only it's a test. Next time you going to look at this.
The tape got to try and get the right distance away from it instead. And you just might find it works.
I haven't yet, but, you know, I've tried it.
It's a it's a fantastic painting.
Does does description of paranoia is very precisely expressed in terms derived from recent French psychiatry, as David Limus has shown,
the notion of a delirium of interpretation as the core feature of the condition
was discussed by the psychiatrist Sevier and Cup car in nineteen hundred nine.
And those ideas ran parallel. There was a lack of very famous French psychoanalyst actually inform the side of the French suffering school.
Little's thesis that his his his doctoral thesis was called on paranoia, psychosis and its relationship with the personality.
It wasn't published until 1932. And I think there's a very good argument for Dallion backlash, exchanging ideas as early as 1930.
A little later, in his 1933 technical text on the Panopto critical interpretation of the obsessional image of Milos Angeles,
Darney, enthusiastic, expressed his unbounded admiration for Larkhall,
whose thesis game for the first time and I quote, a homogeneous idea of the phenomenon paranoia outside,
away from a mechanistic miseries in which current psychiatry is mild.
Wildcoast like half is the content of the paranoid delusions was of no importance.
Lacco argued that they were the direct expression of the unconscious. He diagnosed his patient, who was called.
Amy was suffering from paranoia, psychosis presented as a systematise delirium of interpretation consistent with an overriding idea,
however irrational, so paranoid itself was interpreted of activity.
And as such, it bears a curious resemblance to psychoanalysis itself.
It was it totally effective, but could be transmitted to others.
And this is a point that Dulli absolutely insists on that those very precise scientific terminology,
but also his own unmistakeable language in his theoretical texts on paranoia.
He use it, he added the term critical to indicate that it was, as it were, conscious that it was something that he knew he was doing.
I quote from 1933, text these new menacing, seemingly Barcroft act easily and corrosively with the clarity of physical daily appearances.
And it is, he says, but clearly paranoiac process that it's possible to obtain these double images.
That is the representation of an object that is simultaneously representation and other completely different object.
Dreams, though, work for Dolly, quite distinct from paranoia.
They remain enclosed within the individual psyche.
The dream image evaporates on waking and condense the thought of condensation in dreams as a disincentive mechanism.
Paranoia, by contrast,
operates on the external world in the form the systematised delirious but communicable misreading based on chains of associations.
But the dance Panopto it interpretation of Vili's Angeles, this this book on the right.
Belong to a wave of socialist writings in the early 1930s, inspired by psychoanalysis and of a clearly experimental character.
The surrealists began to think about the kinds of models they might follow or invent that would be appropriate to the demonstration,
documentation or simulation of mental illness obsessions, dreams and fantasies.
In 1930, Retcon Elsewhere published the Immaculate Conception of Immaculate Conception,
which included five essays which simulate that simulate disturbed mental states such as delirium of interpretation.
That is one of the state's sake. They simulate in their texts a senile dementia.
And the text on delirium of interpretation, which is what Dulli would have called paranoia, lack clinical paranoia.
It simulates, apparently, who sees the world through an obsession with birds.
And I quote A translation appearance by Samuel Beckett is fantastic.
Translation quote,
Who is man continues to believe himself on the face of the earth as the blackbird and the buffaloes back on the face of the sea as the Guardian,
the pest of the waves. And it goes on. I'm seeing a B birds throughout the whole the whole of this.
The short text. Now, these short essays in simulation will not therefore stress indebted in any way to clinical texts,
even as pastiches their potential late in the purge.
It was sources of these outlawed regions of the mind, and I quote,
We would even go so far as to declare that in our opinion, the simulation is say it of the maladies.
But sure, in each one of us could replacement's advantageously the ballad, the summit, the epic and other decrepit moods.
In other words, the D. S isn't simulation.
Like most of literature about poetic brettler thought of the possessions as akin to three automatic writings and blessed of death,
they would produce the state of perfect tension, which could be understood as a variation on automatism.
On the other hand, writings such as Orton's, Nadia or Lemel feel mad laugh with stories based on the spookies reporting of facts.
So while the possessions are not clinical texts, Nadia No Fool, for example,
are in a sense ambivalent prefaced or one of the sections of Lemel for his
account of a regulatory encounter with a woman with a note about his method.
I quote, Surrealism was always proposed that a story should take as its model medical observation.
Not a single incident should be admitted, not a name modified.
That's the arbitrary into the foreground with the immediate, devastating irrationality of certain events,
demands the strict authenticity of the human document that registers them both document and simulation, a part of the straightest experiment.
And Dulli. Who is this new recruit? 1929 was regarded by the time as a key mover.
Just to remind you what he looks like. This is a sort of double image.
SuperPower's portrait of himself and. And the gala. His his muse and mistress and amanuensis.
And eventually wife. This is quoting Brett on on daily.
It seems to me as though serious experimenting were about to be unreservedly resumed and with an extension of scope.
This experiment and by the way, has done the last two years. Regain momentum under the master impulse given to it by Salvador Dali.
So this is the end. This is the atmosphere in which Dali conceived and executed his extraordinary text.
The Tragic Misdemeanours Engineers, which he described as a paranoiac political interpretation of the Andrius in June 1932,
the image of the Angelas, which you see here, very popular devotional,
quite banal painting of two peasants posing as the Angelas spell as the evening bell rings out over the fields and they pause to pray.
It is a problem as widely dispersed image in the southern Catholic world and you 1932.
The imagery Angelas appeared suddenly in his imagination in full colour without any related memory or conscious association hit.
Well, as a child. But he hadn't thought about it recently. So this painting became the most troubling, the most enigmatic, the densest,
the richest in assists in unconscious thoughts, which is an unconscious force that has ever been.
And this painting begins to haunt his own paintings of the early 1930s.
This is the archaeological reminiscence of Menez, Angeles. You'll notice they will focus on the two figures confronting each other.
The female gradually starts to overshadow and over sort of over bear the male they displace his previous favourite myth,
which was that a William Tell, William Tell. He interpreted strictly as a kind of castration, a he thought.
So you see the father and the son here, the father threatening the son who's hiding his face in shame.
But it's the painting called William Tell. That is the point.
And it is one of Dali's treatments of myths that he saw as to do with paternal aggression and rage against the sun.
So the sometimes the emphasis appears as itself.
Sometimes it appears that transformed or turned into a different painting by M.A the school, the Angelas of Gala.
And here it appears above the doorway. Very strange painting with Gala facing the back view of linen closet table.
And this one is called Gullah and the Angelas of Millais preceding the imminent arrival of the Chemical and MorphoSys 1933.
And this one, these are all from the early thirties called The Architectonic Angeles of Miller.
And I'm going to come back to the paintings having I hope, by looking at the text of the book,
given given an insight into what it was that so obsessed Thuli about that painting.
The book that he was writing about the Angelus was was already famous in in the sort of circles by 1933.
But it wasn't published, as I said, until 1963. And the only published text related at the time to appear was the illustrated article.
Paranoic put his interpretation of the obsessional image of Los Angeles in the first issue of Minotaur in 1933.
This was evidently the title of that Tony originally intended for the book itself,
the minute or text as it is announced as a prologue to the book with the subtitle New
General Considerations on the mechanism of paranoia from a certain point of view.
These are the the illustrations to the to the text.
So it has two different parts. It had a theoretical prologue which prompted the merits of psychoanalysis and the work of Blackhall.
And this is page of illustrations. What the the Angelus is.
This scene there together with the Louvre.
Leonardo the Louvre. Nado Virgin Child. Jesus, Vincent.
And which is how he Tuttle's it with commentaries under the heading preliminary presentation of some documents towards the
interpretation of the crime of the crepuscular Similac Milley's Angelus of the same illustrations eventually appeared in the book,
and he mentions in the caption the flagrant and unconscious erotic Furo of the Angelas that the text doesn't develop this this idea.
This point, he reproduces that. Yes.
Sorry. All right. The Leonarda, some diversion child in reference to Freud's essay on in order to ensure the memory of
his childhood in which Freud explored in others sexuality and relations with his mother,
Freud took out his memory of a vulture that came. I'm quoting from the Leonardo's memory about what it came down to in my cradle and
opened my mouth with its tail and struck me many times with its tail against my lips.
A foot took this to be a phantasmagoric elision of memories of sucklings with an aggressive sexual act, and it refers to toits double region.
It's this is from the Penguin edition of the Foyt essay with a very useful
diagram showing the vulture which he saw Freud saw in the role of the Virgin.
And then if you can see it, too. But it's that that is a fascinating Dulli, the notion of this particular double image.
And he added the caption, The whole figure constituted by the child's mouth and the tail of the famous invisible
vulture coincides intentionally with the head of the child in millions harvester's.
Freud's notion of the maternal vulture that based on a mistranslation and then with no basis.
And in fact,
apparently it was a chimp perfectly with dallies interpretation of the Angelus as the maternal variant of the myth of the vengeful father.
The. I was interested in the difference between the handwritten texts for the Minotaur article 1933 and those for the book itself.
And it's very interesting. The medical text was he gave a great deal of trouble and there's a whole sequence of these pages very carefully written.
Well, the rather sort of rather spectacular title.
And then the text starts and it just fizzles out.
And this happens again and again. And he clearly became funder's very, very difficult to write a whoopee, you know, begins with the title.
And then then he degenerates and come was eligible.
He abandons it and then he starts again. But the text for the for the book, the tragic myth is very different.
The manuscript is actually very confident.
It was written by Dali with virtually no revisions, and it was done his practise to revise even when making a fair copy.
But this one is a very even if not years of easy dislikeable hand throughout the text flows that interruption.
Now his southern abberation familiars Angelus was it was greeted with scepticism by his surrealist colleagues who
were repelled by its Christian devotional character and unconvinced by his halting attempts to justify himself.
But he doesn't contrasted his public awkwardness.
VCP his friends with it in the confidence to the entire vom behind the sudden appearance of this painting.
And the whole idea for the book was already clear to him. I can say that I already knew almost everything about the transformation of the picture.
I understood. I saw very clearly what it was about my future attempts at interpretation, what was already a target.
Well, it entirely present an obvious in my mind.
He claimed that the meaning of the Angelus was revealed in simultaneously with its appearance that he needed a method to recounted.
And later he described the tragic myth as a psycho analytical essay.
And he found the solution in psychoanalysis. It's not just sourced in psychoanalysis.
The very structure of the book is modelled on Freud's case histories.
It's rigorously ordered in three parts.
This is the sum of the first part with its subtitle initial delirious phenomenon secondary phenomena produced around the
obsessional image and critical consideration of the initial delirious phenomenon that was the appearance of this painting to him.
The second part covers the phenomenology of the Angeles and the Paraná political activity operative on the secondary phenomena.
In other words, these the secondary associations that built up around the painting, which are put back in second, are interpretive.
And the second part of the third and final part is the tragic myth of Menez Andrews itself with the conclusion
hypothetical possibilities of new methods of scientific investigation based on Paronella critical activity.
I think the organisational model very closely follows that of Freud's.
I want to Freud's case histories, the psychoanalytical notes on an autobiographical account of the case of paranoia,
which is commonly known as the Schwager case.
This was originally published in 1911, and it's simply organised in three parts of taste history attempts,
interpretation of the mechanism of paranoia. And I think the subject of the Faber case, as we'll see, would specially attracted them.
Although the outcome turns in a different direction.
So from his first two handwritten pages, a typewritten copy was made, of which this is one example,
not Golla herself, because there are no subsequent corrections in her hand and missing words are filled in.
And then another of the another typescript, another version of the Papeete thing was sent to look on.
The gap had been left at one point with the indication here is place the communication or on reference.
And I'm showing you the key types except for Hall with Breton's addition handwritten down at the bottom.
There's no other indication of it's his handwriting that is actually being put on.
But in fact, Breughel makes extensive corrections and revisions, not changing the sense, but improving the French and questioning some of the science.
So. The initial delirious phenomenon that is the Southern Vision DeAngelis was quickly followed by a series of chance incidents,
encounters, fantasies and rivalries.
These this is the secondary phenomenon in which the Angeles intervened quickly with remarkable exclusive insistence.
These events systematically narrates and then interprets mobilising some of the classic psychology tools,
childhood memories and associations, but not harbour dreams.
I never dream about the Angelas, he said. Amongst the secondary phenomena,
associations with stones and megaliths and the only despites place stones on the beach until suddenly he
is struck by the resemblance of two pebbles he placed upright to the two figures in Miller's Andrius.
An involuntary association between these miniature monuments and the men has in
Dorman's of prehistoric Europe is supplemented by goodtimes own recollection.
That is where the profound text comes in recollection to megaliths on the eldest son Phineas there,
who's deeply worn outcomes, have given them the appearance of a sexually differentiated couple.
And although the the the passage is written in the third person,
it's in fact entirely with names in Greening by Britain and the postcard of the infinite still standing stones known as Lake Hoso or the Gossipers.
It was amongst the original illustrations.
So does kind of like put interpretation of the Angelus reads into it a dramatic scenario of eroticism and death,
which becomes an original variant of the Oedipal myth,
the innocent figures of the Prain couple through a process of association become highly sexualised and the subject to an identity identity shift,
wife and husband mutate into mother and son. The paintings associated with the András obsession like this one here are dominated by
the ruins or calcification of the two figures and by a timeout that casts long shadows.
They all have this this evening, light and long shadows stretching across the foreground of the Dali.
This was associated when he was a child with Walk's evening walks in the fields with a Assad of insects and fossil with fossils.
And he recalls in the traffic myth useful poems that he'd written, which he used to recite outloud at Dusk in the Fields poems,
the elegiac and Pantheistic, which mourned the previous eras of the Earth and what he called the atavism of dusk.
The process by which the dawn of the world appears to us as its cloud,
the atmosphere of Menifee and the paintings is as much part of the sensation of extinction
of the flora and fauna of past ages as if the extinction of the sun in the myth.
So to the book, he described three successive stages of this myth.
He talks about the sinister immobility of the couple. The twilight connected the ancient areas of the world.
The woman having an expectant attitude announcing imminent sexual aggression, the instruments of rural labour,
and particularly a wheelbarrow like this little set of postcards here that he included.
I interpret as a sexually charged, not just through a Freudian symbolism, but from the evidence of peasant lore and sayings in the final phase.
The woman, the mother is identified with the praying mantis, which famously devar the male during copulation.
But a footnote to this book there to expand that was occurred when the mantis was in the unnatural state of captivity.
The idea of the female consuming the male was threaded through a whole series of delirious,
erotic and cannibalistic associations with milk, teacups and cherries.
I can't go into any detail now,
but he was fascinated by this tea service on which the image of the Angelus is seen by a lithograph of coloured cherries by popular puss.
All these include his illustrations in the book.
This site is suggestive of image of a of a of a child with baskets of cherries and over above the erotic connotations of juicy consumption.
Paired cherries linked by their stalks took on the silhouette of the immobile expecting figures of the Angelas couple,
one slightly inclined towards the other. Syrett, 60, locked by the same vital and incestuous link which which links paired cherries.
A particular favourite. And then he included this this little devotional communion card.
This is a young girl. I'll see Katherine as Prince. That's Katherine.
Please give me a little husband. And he puts it the the praying mantis, which actually does look extraordinarily like really.
And so then he concludes with his impression that the frozen posture of the male with whom he identifies himself reveals him as already dead.
And that the myth itself is, and I quote, the maternal variant of the immense, atrocious myth of Satan, Abraham eternal father of Jesus Christ.
And William tell himself divine songs. But this is Moton version of it.
And we revisit these these paintings. So this year they become enormous white students or stalagmites.
And you can see the tiny little figure of Delhi and his father looking at these immense creatures in the desert.
And again, this is this version of it's called Atavism of Twilight.
The male has turned into a skeleton. There's one painting, which is all the beautiful from this period for meditation on a horse.
And it depicts a love song that the feet of an embracing but already ghostly couple of couples.
OK. And when he published the book in 1963, he included a few choice bits and pieces from American folklore such as this one and the same song.
You can see it's been rising over the hills this time.
And I'm going to link that with with the discovery of this text by Dolly in the early 1960s and the publication now.
He published it in 1963 unchanged.
But whereas he was insistent in the original text that what he was talking about was nothing to do with himself.
He wasn't interpreting that painting. It wasn't psychoanalysing relay.
It was to do with himself and his own obsessional reading. But the picture.
In the original texts, he says that the document was extreme authenticity, but only clarified a part of the of the Angelus.
He compared it. He said that the paranoias has analogies with the great Paronella River is a philosophy
with history and also scientific investigations were experimental activity,
which reaches the most ambitious degree of objectivity. The tragic myth is a demonstration of paranoia whose curious resemblance to psychoanalysis
itself does actually reflect upon by Freud at the end of his study and the Shriver case,
Freud wrote. It remains the future to decide whether there is more delusion in my theory than I should
like to admit or whether there is more truth and Schrader's delusion than other people.
I was yet prepared to believe Schrieber Shedders delusion was that he he felt that he he he kind of believed that God was in love with him.
And in order to satisfy this, he had to take on a female body.
It's quite a story there's a shred of himself actually wrote about in his biography.
One of the things that Thony Incorporated in the publication of the book in 1963
was an x ray photograph of the Angelas made by the move on daddy's request,
which reveals a dark shape in the ground at the feet of the peasants. Daddy claims that this represented a coffin, that of a dead son,
which Miller was persuaded to paint over because subtle taste had shifted away from the overtly sentimental and melodramatic and Dudi presents.
This is confirmation that the painting's grand mythological theme was that of the death of the son.
Now, the recovery of this forgotten book sent Dundee back, Mythili, Angeles,
in the early 60s was found to have his greatest late paintings Portrait of My Dead Brother, which is this one here.
And Pepino station.
And the theme of the death of a son now takes on eventually religious as well as sexual connotations in Portrait of My Dead Brother.
That is explicit allusions to the Andrews itself, a budget of visually quite marginal, with a small, almost Gwisai scene in the distant landscape,
representing not the peasant couple themselves, but to many like figures holding a sack, loading a second to a wheelbarrow.
The new subject is different. Son, a figure entirely absent from the tragedy.
An elder brother who died nine months before Dolly was form encouraged by the psychiatrist doctor when Jab dunnart began to think of himself.
And this brother, who's lost, haunted him as the mythological diaspora and the cherries in the portrait.
So the cherries. You can see them in this in this portrait of my dead brother.
Take a quite different meaning from the sexual one they held in the tragic myth here.
I quote, Bunny, the cherries represent the molecules. The dark cherries create the visage of my dead brother.
The sunlight of cherries create the image of Salvador living.
And there's another leaf, the tragic myth embedded as a double image across the brow of the boy.
Yeah. Is the dark shape of a vulture an unmistakeable reference to the famous vulture, 40 percent in the skirts of Leonardo's Sainte-Anne the Virgin?
In Pepino station, this is a gigantic picture.
I should I should add, Dulli orchestrates his entire composition around the idea of the dead some Christ.
You could see his return to an almost always sort of fair copy of the two figures of the Angelas.
They never were distorted, gave away, and they appear framing the canvas on each side.
And then at the bottom, seated on a wheelbarrow is the garment seen from the back, and the top is daddy himself seen from below.
And then he reappears right at the heart of the painting,
which is this kind of Maltese cross beams of light and the beams of light are spreading, as it were,
both from the descending valley but also from the figure of Christ on the cross,
which you can see faintly the outspread arms of the back and the head of the platforms there.
And this is quite an extraordinary example of the aggrandised ego, I think, which really was propelling Dali at this point.
And I think that is one of the ways that Freud talks about narcissism and narcissism.
He interprets as basically a stage of a.
A risk restricted development of the ego in which ego, as it were,
becomes its own object of desire and narcissism is related to the development of homosexuality.
Now, this is not something that Dulli talks about explicitly, but I think that in a sense,
his treatment of a narcissist myth and his development of the image of himself here as this will repeat itself here,
as this is the object of of devotion and to men could probably all are, as it were, possibly unconscious signs of of dollars.
And so the real involvement in this issue.
So I'm ending with that painting, the Pepino station, as is the sort of final expression of Doug's interest in these innocent devotion.