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SALVADOR DALI (1904-1989)

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Dalí’s impeccable draftsmanship is the fundamental reason for his remarkable breadth as an artist. His sense of line, feeling for meticulous details, and unparalleled gestural confidence allowed for complete control over the fantastical nature of his creations. The thematic motif of Saint George, patron saint of chivalry of all Christendom and his slaying of the dragon is an allegory of the victory of the Christian faith over the devil sin, evil, and pagan beliefs. Dalí returned to this thematic motif repeatedly using several mediums so often that he said with great satisfaction that “while waiting for the faith that is the grace of God, I have become a hero,” Saint George’s slaying of the dragon brings to light Dalí’s relationship with Faith and as well, his troubled relationship with Catholicism. Dalí’s impeccable draftsmanship is the fundamental reason for his remarkable breadth as an artist. His sense of line, feeling for meticulous details, and unparalleled gestural confidence allowed for complete control over the fantastical nature of his creations. The thematic motif of Saint George, patron saint of chivalry of all Christendom and his slaying of the dragon is an allegory of the victory of the Christian faith over the devil sin, evil, and pagan beliefs. Dalí returned to this thematic motif repeatedly using several mediums so often that he said with great satisfaction that “while waiting for the faith that is the grace of God, I have become a hero,” Saint George’s slaying of the dragon brings to light Dalí’s relationship with Faith and as well, his troubled relationship with Catholicism. Dalí’s impeccable draftsmanship is the fundamental reason for his remarkable breadth as an artist. His sense of line, feeling for meticulous details, and unparalleled gestural confidence allowed for complete control over the fantastical nature of his creations. The thematic motif of Saint George, patron saint of chivalry of all Christendom and his slaying of the dragon is an allegory of the victory of the Christian faith over the devil sin, evil, and pagan beliefs. Dalí returned to this thematic motif repeatedly using several mediums so often that he said with great satisfaction that “while waiting for the faith that is the grace of God, I have become a hero,” Saint George’s slaying of the dragon brings to light Dalí’s relationship with Faith and as well, his troubled relationship with Catholicism. Dalí’s impeccable draftsmanship is the fundamental reason for his remarkable breadth as an artist. His sense of line, feeling for meticulous details, and unparalleled gestural confidence allowed for complete control over the fantastical nature of his creations. The thematic motif of Saint George, patron saint of chivalry of all Christendom and his slaying of the dragon is an allegory of the victory of the Christian faith over the devil sin, evil, and pagan beliefs. Dalí returned to this thematic motif repeatedly using several mediums so often that he said with great satisfaction that “while waiting for the faith that is the grace of God, I have become a hero,” Saint George’s slaying of the dragon brings to light Dalí’s relationship with Faith and as well, his troubled relationship with Catholicism. Dalí’s impeccable draftsmanship is the fundamental reason for his remarkable breadth as an artist. His sense of line, feeling for meticulous details, and unparalleled gestural confidence allowed for complete control over the fantastical nature of his creations. The thematic motif of Saint George, patron saint of chivalry of all Christendom and his slaying of the dragon is an allegory of the victory of the Christian faith over the devil sin, evil, and pagan beliefs. Dalí returned to this thematic motif repeatedly using several mediums so often that he said with great satisfaction that “while waiting for the faith that is the grace of God, I have become a hero,” Saint George’s slaying of the dragon brings to light Dalí’s relationship with Faith and as well, his troubled relationship with Catholicism. Dalí’s impeccable draftsmanship is the fundamental reason for his remarkable breadth as an artist. His sense of line, feeling for meticulous details, and unparalleled gestural confidence allowed for complete control over the fantastical nature of his creations. The thematic motif of Saint George, patron saint of chivalry of all Christendom and his slaying of the dragon is an allegory of the victory of the Christian faith over the devil sin, evil, and pagan beliefs. Dalí returned to this thematic motif repeatedly using several mediums so often that he said with great satisfaction that “while waiting for the faith that is the grace of God, I have become a hero,” Saint George’s slaying of the dragon brings to light Dalí’s relationship with Faith and as well, his troubled relationship with Catholicism. Dalí’s impeccable draftsmanship is the fundamental reason for his remarkable breadth as an artist. His sense of line, feeling for meticulous details, and unparalleled gestural confidence allowed for complete control over the fantastical nature of his creations. The thematic motif of Saint George, patron saint of chivalry of all Christendom and his slaying of the dragon is an allegory of the victory of the Christian faith over the devil sin, evil, and pagan beliefs. Dalí returned to this thematic motif repeatedly using several mediums so often that he said with great satisfaction that “while waiting for the faith that is the grace of God, I have become a hero,” Saint George’s slaying of the dragon brings to light Dalí’s relationship with Faith and as well, his troubled relationship with Catholicism. Dalí’s impeccable draftsmanship is the fundamental reason for his remarkable breadth as an artist. His sense of line, feeling for meticulous details, and unparalleled gestural confidence allowed for complete control over the fantastical nature of his creations. The thematic motif of Saint George, patron saint of chivalry of all Christendom and his slaying of the dragon is an allegory of the victory of the Christian faith over the devil sin, evil, and pagan beliefs. Dalí returned to this thematic motif repeatedly using several mediums so often that he said with great satisfaction that “while waiting for the faith that is the grace of God, I have become a hero,” Saint George’s slaying of the dragon brings to light Dalí’s relationship with Faith and as well, his troubled relationship with Catholicism. Dalí’s impeccable draftsmanship is the fundamental reason for his remarkable breadth as an artist. His sense of line, feeling for meticulous details, and unparalleled gestural confidence allowed for complete control over the fantastical nature of his creations. The thematic motif of Saint George, patron saint of chivalry of all Christendom and his slaying of the dragon is an allegory of the victory of the Christian faith over the devil sin, evil, and pagan beliefs. Dalí returned to this thematic motif repeatedly using several mediums so often that he said with great satisfaction that “while waiting for the faith that is the grace of God, I have become a hero,” Saint George’s slaying of the dragon brings to light Dalí’s relationship with Faith and as well, his troubled relationship with Catholicism. Dalí’s impeccable draftsmanship is the fundamental reason for his remarkable breadth as an artist. His sense of line, feeling for meticulous details, and unparalleled gestural confidence allowed for complete control over the fantastical nature of his creations. The thematic motif of Saint George, patron saint of chivalry of all Christendom and his slaying of the dragon is an allegory of the victory of the Christian faith over the devil sin, evil, and pagan beliefs. Dalí returned to this thematic motif repeatedly using several mediums so often that he said with great satisfaction that “while waiting for the faith that is the grace of God, I have become a hero,” Saint George’s slaying of the dragon brings to light Dalí’s relationship with Faith and as well, his troubled relationship with Catholicism.
Saint Georges et le Dragon196222 1/2 x 30 1/4 in.(57.15 x 76.84 cm) ballpoint pen on paper
Provenance
Private Collection, Europe, acquired from the Artist
Christie's London: Wednesday, June 19, 2013 [Lot 00146] Impressionist/Modern Works on Paper
Private Collection, acquired from the above
Exhibition
Tokyo, Prince Hotel Gallery, Salvador Dali, 8 September - 18 October, 1964
Nagoya, Prefectural Museum of Art, Salvador Dali, 23-30 October, 1964
Kyoto, Municipal Art Gallery, Salvador Dali, 3-29 November, 1964
New York, Gallery of Modern Art, Salvador Dali 1910-1965, 18 December, 1965- 28 Février, 1966
Bruges, Stichting Sin...More...t-Jan, Salvador Dali. Doeken & Aquarellen, 18 Juillet 18- 2 Novembre, 1997
Turin, Fondazione Palazzo Bricherasio, Salvador Dalì, La vita è il sogno, Novembre 1996-Mars 1997
Augsburg, Römisches Museum, Dali, Mara e Beppe, Bilder einer Freundschaft, 15 Septembre – 26 Novembre, 2000
Literature
Schauber, V., Albaretto, G., & Albaretto, M., 2000, Dalí, Mara e Beppe: Bilder Einer Freundschaft, pp. 132; 176, Römisches Museum
Ueda, T., 1964, Salvador Dali: Exhibition - Japan 1964, pp. 109, Mainichi Newspapers, Tokyo, Japan
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“Each morning when I awake, I experience again a supreme pleasure – that of being Salvador Dalí.” – Salvador Dalí

History

Salvador Dalí’s impeccable draftsmanship is the fundamental reason for his remarkable breadth as an artist. His sense of line, feeling for meticulous details, and unparalleled gestural confidence allowed for complete control over the fantastical nature of his creations.

The thematic motif of Saint George, patron saint of chivalry of all Christendom, and his slaying of the dragon is an allegory of the victory of the Christian faith over the devil, sin, evil, and pagan beliefs. Dalí returned to this thematic motif repeatedly using several mediums so often that he said with great satisfaction that “while waiting for the faith that is the grace of God, I have become a hero.” Saint George’s slaying of the dragon brings to light Dalí’s relationship with Faith and as well, his troubled relationship with Catholicism.

Encyclopedia Britannica

Salvador Dalí

Encyclopedia Britannica
Pen and ink, 18 3/4 x 11 5/16 in. The Cleveland Museum of Art.

"St. George and the Dragon" (1946)

Pen and ink, 18 3/4 x 11 5/16 in. The Cleveland Museum of Art.
Bronze, 118 1/8 x 46 1/2 in. Dalí Universe

"St. George and the Dragon" (conceived 1977, first cast 1984)

Bronze, 118 1/8 x 46 1/2 in. Dalí Universe
Oil on canvas, 20 x 11 7/8 in. Collection CHANEL.

"St. George the Dragon-Killer" (1947)

Oil on canvas, 20 x 11 7/8 in. Collection CHANEL.
Oil on canvas, 28 3/8 x 36 5/8 in. Fundació Gala-Salvador Dalí.

"St. George Overpowering a Cello" (1983)

Oil on canvas, 28 3/8 x 36 5/8 in. Fundació Gala-Salvador Dalí.

Notable Paintings of Saint George and The Dragon

Bernat Martorell, "Saint George and the Dragon" (1434/35), tempera on panel, 61 1/4 × 38 5/8 in.

Art Institute of Chicago

Bernat Martorell, “Saint George and the Dragon” (1434/35), tempera on panel, 61 1/4 × 38 5/8 in.
Paolo Uccello, "Saint George and the Dragon" (c. 1470), oil on canvas, 21 7/8 x 29 1/4 in.

The National Gallery of Art, London

Paolo Uccello, “Saint George and the Dragon” (c. 1470), oil on canvas, 21 7/8 x 29 1/4 in.
Carlo Crivelli, "Saint George Slaying the Dragon" (1470), gold, silver and tempera on panel, 36 15/16 x 19 1/8 in.

Isabella Stewart Garner Museum, Boston

Carlo Crivelli, “Saint George Slaying the Dragon” (1470), gold, silver and tempera on panel, 36 15/16 x 19 1/8 in.
"Saint George and the Dragon" (c. 1480-1490), oil on wood panel, 19 1/2 x 14 1/4 in.

Toledo Museum of Art

“Saint George and the Dragon” (c. 1480-1490), oil on wood panel, 19 1/2 x 14 1/4 in.
Lieven van Lathem, "Saint George and the Dragon" (c. 1471), tempera colors, gold leaf, gold paint, silver paint, and ink, 4 7/8 × 3 5/8 in.

The Getty Museum, Los Angeles, California

Lieven van Lathem, “Saint George and the Dragon” (c. 1471), tempera colors, gold leaf, gold paint, silver paint, and ink, 4 7/8 × 3 5/8 in.
Raphael, "Saint George and the Dragon" (c. 1506), oil on panel, 11 1/4 x 8 7/16 in.

The National Gallery of Art, Washington, D.C.

Raphael, “Saint George and the Dragon” (c. 1506), oil on panel, 11 1/4 x 8 7/16 in.
Master of Cervera (possibly Joan de Rua), "Saint George and the Dragon" c. 1485-1500), oil, tempera, and gold leaf on wood panel, 52 1/8 x 37 in.

Fine Art Museums of San Franscisco

Master of Cervera (possibly Joan de Rua), “Saint George and the Dragon” c. 1485-1500), oil, tempera, and gold leaf on wood panel, 52 1/8 x 37 in.
Luca Signorelli, "Saint George and the Dragon" (1495-1505), oil on panel, 21 5/8 x 30 1/2 in.

Rijksmuseums, Amsterdam

Luca Signorelli, “Saint George and the Dragon” (1495-1505), oil on panel, 21 5/8 x 30 1/2 in.
Peter Paul Rubens, "Saint George and the Dragon" (1606-1608), oil on canvas, 121 5/8 x 101 1/8 in.

Museo del Prado

Peter Paul Rubens, “Saint George and the Dragon” (1606-1608), oil on canvas, 121 5/8 x 101 1/8 in.
Richard Cosway, "St. George and the Dragon" (c. 1815), pen and brown ink, gray and brown wash, and graphite on two sheets of laid paper, 12 1/2 × 10 1/4 in.

The Museum of Fine Arts, Houston

Richard Cosway, “St. George and the Dragon” (c. 1815), pen and brown ink, gray and brown wash, and graphite on two sheets of laid paper, 12 1/2 × 10 1/4 in.
Eugène Delacroix, "Saint Georges combattant le dragon" (1847), oil on canvas, 11 x 14 1/8 in.

Louvre Museum, Paris

Eugène Delacroix, “Saint Georges combattant le dragon” (1847), oil on canvas, 11 x 14 1/8 in.
Dante Gabriel Rossetti, "St. George and Princess Sabra" (1862), watercolour on paper, 20 5/8 x 12 1/8 in.

Tate, London

Dante Gabriel Rossetti, “St. George and Princess Sabra” (1862), watercolour on paper, 20 5/8 x 12 1/8 in.
“While waiting for the faith that is the grace of God, I have become a hero.” – Salvador Dalí

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