{"id":2756,"date":"2026-02-13T12:53:29","date_gmt":"2026-02-13T11:53:29","guid":{"rendered":"https:\/\/horst.salvador-dali.org\/cronologia\/"},"modified":"2026-03-02T17:01:02","modified_gmt":"2026-03-02T16:01:02","slug":"chronology","status":"publish","type":"page","link":"https:\/\/horst.salvador-dali.org\/en\/chronology\/","title":{"rendered":"Chronology"},"content":{"rendered":"\n
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CHRONOLOGY<\/h1>\n<\/div>\n\n\n\n
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Salvador Dal\u00ed, Gala, and Horst P. Horst maintained a personal and professional relationship over several decades. This chronology sets out the most significant collaborations, meetings and documents of which we have knowledge to date.<\/p>\n<\/div>\n<\/div>\n\n\n\t\t

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\n\t\t\t\t\t\t\t\t\t\t1939\t\t\t\t\t\t\t\t\t<\/h3>\n\t\t\t\t\t\t\t\t<\/header>\n\t\t\t\t\t\t\t\t
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In April, the first documented collaboration between the photographer Horst P. Horst and Salvador Dal\u00ed takes place. The artist works on the Surrealist Dream of Venus<\/em> pavilion for the New York World\u2019s Fair, while Horst is one of the group of photographers responsible for carrying out the sessions with nude models, in which the artist also participates, accompanied by Gala. Dal\u00ed intervenes in two of Horst\u2019s photographs from these sessions, and creates the costume designs of the mermaids that will be part of the installation. In an initial phase of the project, the two images are incorporated in large format into the fa\u00e7ade of the pavilion.<\/p>\n

In September, an article in Vogue<\/em> headed \u2018Paris Openings. Variety Show\u2019 includes a photograph by Horst. This picture features a model wearing a black dress by Schiaparelli, while a large drawing by Salvador Dal\u00ed, Horse and Rider<\/em> (1935), forms part of the set design.<\/p>\n

In October, Vogue<\/em> (New York) published the article \u2018Dali\u2019s \u201cVenusberg\u201d ballet\u2019 on the occasion of the New York premiere of the ballet Bacchanale<\/em>. The article is accompanied by a drawing by Dal\u00ed and a photograph by Horst, which shows the costume designs conceived by Salvador Dal\u00ed and made by Coco Chanel.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/article>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t1942\t\t\t\t\t\t\t\t\t<\/h3>\n\t\t\t\t\t\t\t\t<\/header>\n\t\t\t\t\t\t\t\t
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In the early summer of 1942, Horst, who had applied for US citizenship two years previously, is called to attend a medical examination. Horst recalls that, not long before, spending an evening with the Dal\u00eds in New York, while Salvador Dal\u00ed was drawing his portrait, Gala read the cards to tell his future. The message is very clear: he is to be called up for the United States Army. Horst, thirty-six years old and close to being past the age for conscription, is incredulous at the prediction. However, the future foretold by Gala is borne out.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/article>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t1943\t\t\t\t\t\t\t\t\t<\/h3>\n\t\t\t\t\t\t\t\t<\/header>\n\t\t\t\t\t\t\t\t
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One of the three murals painted by Salvador Dal\u00ed in Helena Rubinstein\u2019s apartment in Manhattan (Cat. No. P 546<\/a>) serves as the backdrop for a photograph by Horst that is published in Vogue<\/em> in March accompanied by a short article entitled \u2018In the Dali Room\u2019. In the picture, Adele Simpson\u2019s interior designs dialogue with the recurring symbols of Dali\u2019s iconography.<\/p>\n

In June, Vogue<\/em> devotes almost a whole two-page spread to \u2018Madame Salvador Dal\u00ed\u2019. For the occasion, Dal\u00ed conceives a collage in which two images of Gala, photographed by Horst, are inserted on the painting The Triumph of Tourbillon<\/em> (Cat. No. 572<\/a>).<\/p>\n

That same year, Horst takes the memorable portrait of Salvador Dal\u00ed with his eyes closed. With this gaze directed inward, artist and photographer evoke the world of dreams and the subconscious, the central axis of Surrealist thought.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/article>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t1945\t\t\t\t\t\t\t\t\t<\/h3>\n\t\t\t\t\t\t\t\t<\/header>\n\t\t\t\t\t\t\t\t
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February sees the publication of the book Horst: Photographs of a Decade<\/em>, edited by Georges Davis. The chapter dedicated to Paris features the designs for Bacchanale<\/em>, from 1939, and the portrait of Salvador Dal\u00ed with his eyes closed, from 1943.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/article>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t1947\t\t\t\t\t\t\t\t\t<\/h3>\n\t\t\t\t\t\t\t\t<\/header>\n\t\t\t\t\t\t\t\t
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Horst moves to his new home in Oyster Bay (Long Island, New York), where the designer Christian Dior, Baron Nicolas \u2018Niki\u2019 de Gunzburg and Salvador Dal\u00ed are among his first guests.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/article>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t1948\t\t\t\t\t\t\t\t\t<\/h3>\n\t\t\t\t\t\t\t\t<\/header>\n\t\t\t\t\t\t\t\t
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In May, Vogue<\/em> illustrates the \u2018Points\u2026\u2019 section with an image conceived by Salvador Dal\u00ed and accompanied by a short text, \u2018Dali Composes a Photograph\u2019. In the picture, taken by Horst, the artist establishes a direct dialogue with the latest works that he has just presented at the Bignou Gallery in New York. In line with the concept of \u2018nothing is ever touched\u2019 of quantum physics \u2013 which marks paintings such as Dematerialization near the Nose of Nero<\/em> (Cat. No. 626), reproduced in the image \u2013 Dal\u00ed and Horst present two models suspended in the air, wearing summer designs specially commissioned from Hattie Carnegie for the occasion.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/article>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

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Horst photographs Gala and Salvador Dal\u00ed in a rocky landscape, near the sea, probably somewhere on the east coast of the United States. This photo-essay is a rarity in the work of a photographer who usually prefers to shoot indoors.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/article>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t1953\t\t\t\t\t\t\t\t\t<\/h3>\n\t\t\t\t\t\t\t\t<\/header>\n\t\t\t\t\t\t\t\t
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In May, Vogue<\/em> publishes a fashion shoot by Horst with sets by Marcel Vert\u00e8s. In one of the images, in a knowing wink to Salvador Dal\u00ed, Horst includes a more relaxed version of the costumes the artist had designed with Coco Chanel for the ballet Bacchanale<\/em> more than ten years before. The model, Kathy Dennis, wears a dress by designer Mollie Parnis, who coincidentally had acquired Dal\u00ed\u2019s Horse and Rider<\/em> (1935) in 1951.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/article>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t1957\t\t\t\t\t\t\t\t\t<\/h3>\n\t\t\t\t\t\t\t\t<\/header>\n\t\t\t\t\t\t\t\t
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In or around this year, Horst held a photo session with Gala and Salvador Dal\u00ed in his studio. A portrait of Dal\u00ed, the result of this shoot, appears on the jacket of the book Dal\u00ed on Modern Art \u2212 The cuckolds of antiquated modern<\/em> art<\/em>, written by the artist and published by Dial Press.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/article>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t1960\t\t\t\t\t\t\t\t\t<\/h3>\n\t\t\t\t\t\t\t\t<\/header>\n\t\t\t\t\t\t\t\t
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In or around this year, Horst photographed Dal\u00ed in his studio, with the artist seated in front of a spotlight. Dal\u00ed is elegantly dressed and holds a cane with a haughty air. This is the last known portrait of Salvador Dal\u00ed by Horst P. Horst.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/article>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t1964\t\t\t\t\t\t\t\t\t<\/h3>\n\t\t\t\t\t\t\t\t<\/header>\n\t\t\t\t\t\t\t\t
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Horst does a photo shoot with the model and budding actor William Rothlein, who was mooted to star in a film about Salvador Dal\u00ed to be directed by Federico Fellini. Although the project never saw the light of day, it was surely the reason for this commission, the contact sheets of which include several portraits of the model, naked, clearly inspired by the classical ideal of male beauty.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/article>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t1966\t\t\t\t\t\t\t\t\t<\/h3>\n\t\t\t\t\t\t\t\t<\/header>\n\t\t\t\t\t\t\t\t
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In June, Vogue<\/em> publishes \u2018The House that Horst Grew\u2019, an extensively illustrated report written by Valentine Lawford, a British diplomat and Horst\u2019s partner at the time. In a shot of the bedroom, a detail of a watercolour by Salvador Dal\u00ed can be seen on the bed.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/article>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t1971\t\t\t\t\t\t\t\t\t<\/h3>\n\t\t\t\t\t\t\t\t<\/header>\n\t\t\t\t\t\t\t\t
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In the foreword to his book Salute to the Thirties<\/em>, published by the New York imprint Viking Press, Horst recounts an amusing anecdote about Coco Chanel and Salvador Dal\u00ed: \u2018Without a doubt, the center of the circle, the star of the circus, was Chanel. She was omnipresent and omnipotent. She argued and pontificated; she set up an alarm clock on her table when Dal\u00ed was present, and insisted that after he had spoken for ten minutes without interruption, she had the right to do the same.\u2019<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/article>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t1981\t\t\t\t\t\t\t\t\t<\/h3>\n\t\t\t\t\t\t\t\t<\/header>\n\t\t\t\t\t\t\t\t
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In a television interview with Horst P. Horst for the ABC series Visions and Images – American Photographers on Photography<\/em>, presented by Barbarelee Diamonstein-Spielvogel, the photographer speaks about the avant-garde Paris of his youth and the influence it had on his work. Horst explains that, during the thirties, there was little or no diemarcation between fashion designers, artists, intellectuals and fashion editors, and cites as an example the case of Salvador Dal\u00ed, who at that time designed several haute couture<\/em> dresses with Elsa Schiaparelli.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/article>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t<\/div>\n\n\t\t\t<\/div>\n\n\t\t<\/section>\n\t\t\n\n\n\n

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Costume design for Dream of Venus<\/em>,1939. Exhibition copy. The Israel Museum, Jerusalem, B81.1348 <\/figcaption><\/figure>\n\n\n\n
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Horst P. Horst, Gala, 1943. Period copy. Arxiu Fundaci\u00f3 Gala-Salvador Dal\u00ed <\/figcaption><\/figure>\n\n\n\n
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\u201cDali composes a photograph\u201d, Vogue<\/em>, New York. 15\/05\/1948. Arxiu Fundaci\u00f3 Gala-Salvador Dal\u00ed <\/figcaption><\/figure>\n\n\n\n
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Horst P. Horst. Salvador Dal\u00ed, c. 1960. Cond\u00e9 Nast Archive, New York.<\/figcaption><\/figure>\n<\/figure>\n","protected":false},"excerpt":{"rendered":"

CHRONOLOGY Salvador Dal\u00ed, Gala, and Horst P. Horst maintained a personal and professional relationship over several decades. This chronology sets out the most significant collaborations, meetings and documents of which we have knowledge to date. […]<\/p>\n

Read More… from Chronology<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":2750,"parent":0,"menu_order":14,"comment_status":"closed","ping_status":"closed","template":"page-templates\/page-cronologia.php","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"class_list":["post-2756","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nChronology - Dal\u00ed\/Horst<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/horst.salvador-dali.org\/en\/chronology\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Chronology - Dal\u00ed\/Horst\" \/>\n<meta property=\"og:description\" content=\"CHRONOLOGY Salvador Dal\u00ed, Gala, and Horst P. Horst maintained a personal and professional relationship over several decades. This chronology sets out the most significant collaborations, meetings and documents of which we have knowledge to date. 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