{"id":3063,"date":"2026-04-21T21:13:49","date_gmt":"2026-04-21T19:13:49","guid":{"rendered":"https:\/\/horst.salvador-dali.org\/sur-la-beaute\/la-bellesa-segons-dali\/"},"modified":"2026-04-29T13:56:56","modified_gmt":"2026-04-29T11:56:56","slug":"ideal-classique","status":"publish","type":"page","link":"https:\/\/horst.salvador-dali.org\/fr\/sur-la-beaute\/ideal-classique\/","title":{"rendered":"L’\u00edd\u00e9al classique"},"content":{"rendered":"\n
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L’\u00edd\u00e9al classique<\/strong><\/h1>\n\n\n\n
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\u00ab\u00a0Je peux affirmer qu\u2019il est plus m\u00e9ritoire de cr\u00e9er de la beaut\u00e9 en 1947 que sous la tutelle paternelle d\u2019un P\u00e9rugin.\u00a0\u00bb<\/p>\n\n\n\n

SALVADOR DAL\u00cd<\/p>\n\n\n\n

New Paintings by Salvador Dal\u00ed, Bignou Gallery, New York, 1947<\/p>\n<\/blockquote>\n<\/div>\n<\/div>\n\n\n\n

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\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Salvador Dal\u00ed<\/strong>
D\u00e9mat\u00e9rialisation pr\u00e8s du nez de N\u00e9ron
1947
Huile sur toile
Fundaci\u00f3 Gala-Salvador Dal\u00ed
Num. cat. P 626<\/a>\u202f<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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D\u00e9mat\u00e9rialisation pr\u00e8s du nez de N\u00e9ron<\/em><\/h3>\n<\/div>\n<\/div>\n\n\n\n

Le retour au classicisme et \u00e0 la Renaissance, tr\u00e8s pr\u00e9sent dans l\u2019\u0153uvre de Salvador Dal\u00ed dans les ann\u00e9es 1940, na\u00eet d\u2019un d\u00e9sir profond de retrouver le vieux continent, cette Europe tant regrett\u00e9e o\u00f9 l\u2019artiste n\u2019est jamais retourn\u00e9 depuis son exil aux \u00c9tats-Unis en 1940. Dans D\u00e9mat\u00e9rialisation pr\u00e8s du nez de N\u00e9ron <\/em>(1947), l\u2019id\u00e9al de beaut\u00e9 classique demeure, mais il prend un sens nouveau apr\u00e8s l\u2019explosion de la premi\u00e8re bombe atomique \u00e0 Hiroshima, un \u00e9v\u00e9nement qui marque un tournant dans l\u2019histoire de l\u2019humanit\u00e9 et bouleverse profond\u00e9ment l\u2019artiste. Des ann\u00e9es plus tard, dans Comment on devient Dali, <\/em>(1973), il l\u2019\u00e9voque en ces termes : \u00ab L’explosion atomique du 6 ao\u00fbt 1945 m’avait sismiquement \u00e9branl\u00e9. D\u00e9sormais l’atome \u00e9tait mon sujet de r\u00e9flexion pr\u00e9f\u00e9r\u00e9. Bien des paysages peints durant cette p\u00e9riode expriment la grande peur que j’\u00e9prouvai \u00e0 l’annonce de cette explosion, J’appliquais ma m\u00e9thode parano\u00efa-critique \u00e0 l’exploration de ce monde. \u00bb<\/p>\n\n\n\n

Contrairement \u00e0 des \u0153uvres comme Idylle atomique et uranique m\u00e9lancolique <\/em>(N\u00b0 cat. P 606<\/a>)  \u2014 que Dal\u00ed peint en 1945 alors qu\u2019il est encore sous le choc, dans un registre beaucoup plus sombre et apocalyptique \u2014, le tableau qui nous occupe surprend par son caract\u00e8re serein et harmonieux. L\u2019int\u00e9r\u00eat de Dal\u00ed pour la physique quantique et la d\u00e9sint\u00e9gration de l\u2019atome se manifeste, dans sa peinture, par la d\u00e9mat\u00e9rialisation des figures et des objets, qui apparaissent souvent en \u00e9tat d\u2019apesanteur et fragment\u00e9s. Dans cette sc\u00e8ne, quatre personnages isol\u00e9s, semblant venus d\u2019un autre temps, contemplent immobiles les diff\u00e9rents \u00e9l\u00e9ments qui flottent dans l\u2019espace. Ils sont les t\u00e9moins d\u2019une nouvelle r\u00e9alit\u00e9 scientifique et de son impact sur la cr\u00e9ation dalinienne, qui inaugure la p\u00e9riode atomique de l\u2019artiste.<\/p>\n\n\n\n

Des \u00e9l\u00e9ments comme le buste de N\u00e9ron et le motif iconographique de la grenade m\u00e9ritent une attention particuli\u00e8re. L\u2019empereur, que l\u2019on associe \u00e0 la destruction et \u00e0 l\u2019incendie de Rome, symbole d\u2019un pouvoir d\u00e9vastateur et arbitraire, peut \u00eatre interpr\u00e9t\u00e9 comme une allusion \u00e0 la tendance autodestructrice de l\u2019humanit\u00e9, amplifi\u00e9e par l\u2019av\u00e8nement de l\u2019\u00e8re nucl\u00e9aire. Par ailleurs, la grenade, fruit associ\u00e9 depuis l\u2019Antiquit\u00e9 \u00e0 la mort et \u00e0 la r\u00e9surrection, rev\u00eat ici une dimension symbolique ambivalente : si elle peut \u00e9voquer l\u2019\u00e9clatement et la dispersion, elle sugg\u00e8re aussi la possibilit\u00e9 d\u2019une renaissance, par la diss\u00e9mination de ses graines. Ainsi, l\u2019artiste \u00e9labore une r\u00e9flexion sur la destruction et la transcendance, qu\u2019il habille de classicisme \u2014 \u00ab l\u2019\u00e9ternelle source de beaut\u00e9 antique \u00bb \u2014 pour rendre plus supportables la peur et l\u2019incertitude de son temps.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

L’\u00edd\u00e9al classique \u00ab\u00a0Je peux affirmer qu\u2019il est plus m\u00e9ritoire de cr\u00e9er de la beaut\u00e9 en 1947 que sous la tutelle paternelle d\u2019un P\u00e9rugin.\u00a0\u00bb SALVADOR DAL\u00cd New Paintings by Salvador Dal\u00ed, Bignou Gallery, New York, 1947 D\u00e9mat\u00e9rialisation pr\u00e8s du nez de N\u00e9ron Le retour au classicisme et \u00e0 la Renaissance, tr\u00e8s pr\u00e9sent dans l\u2019\u0153uvre de Salvador Dal\u00ed dans les […]<\/p>\n

Lire la suite\u2026 from L’\u00edd\u00e9al classique<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":0,"parent":3054,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"page-templates\/page-bellesa.php","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"class_list":["post-3063","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nL'\u00edd\u00e9al classique - Dal\u00ed\/Horst<\/title>\n<meta name=\"robots\" content=\"noindex, nofollow\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"L'\u00edd\u00e9al classique - Dal\u00ed\/Horst\" \/>\n<meta property=\"og:description\" content=\"L’\u00edd\u00e9al classique \u00ab\u00a0Je peux affirmer qu\u2019il est plus m\u00e9ritoire de cr\u00e9er de la beaut\u00e9 en 1947 que sous la tutelle paternelle d\u2019un P\u00e9rugin.\u00a0\u00bb SALVADOR DAL\u00cd New Paintings by Salvador Dal\u00ed, Bignou Gallery, New York, 1947 D\u00e9mat\u00e9rialisation pr\u00e8s du nez de N\u00e9ron Le retour au classicisme et \u00e0 la Renaissance, tr\u00e8s pr\u00e9sent dans l\u2019\u0153uvre de Salvador Dal\u00ed dans les [...]Lire la suite\u2026 from L’\u00edd\u00e9al classique\" \/>\n<meta property=\"og:url\" content=\"https:\/\/horst.salvador-dali.org\/fr\/sur-la-beaute\/ideal-classique\/\" \/>\n<meta property=\"og:site_name\" content=\"Dal\u00ed\/Horst\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/MuseusDali\" \/>\n<meta property=\"article:modified_time\" content=\"2026-04-29T11:56:56+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/horst.salvador-dali.org\/wp-content\/uploads\/2026\/04\/i0340-Personalizado-627x1024.jpg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@MuseuDali\" \/>\n<meta name=\"twitter:label1\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data1\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/horst.salvador-dali.org\\\/fr\\\/sur-la-beaute\\\/ideal-classique\\\/\",\"url\":\"https:\\\/\\\/horst.salvador-dali.org\\\/fr\\\/sur-la-beaute\\\/ideal-classique\\\/\",\"name\":\"L'\u00edd\u00e9al classique - 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