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The picture is a contour of a human figure facing us and depicted with its upper part.
Everything else is the details. Hands and ribs consist of a large number of one-wheeled wooden wheelbarrows and their parts. All of them fly away in a whirlwind into the fontanel, where, as if in the dome of the church’s cathedral, a round hole has been formed in which the sky shines, but in the center of the circle is a wheelbarrow. Cars also fly around the head and frame its massive clouds. Light from the fontanel of the head hits down into the chest area. Here is the entrance to the temple of the Lord.
Next to us is the altar table with the Cross. And the figures of people. A couple of people stand closer to us. This is a man with a dog's head, as in ancient Egyptian frescoes and a woman in a long dress, they are looking at some kind of box. Closer to the gate are two churchmen in their traditional vestments. The entrance is framed by two columns, a woman is approaching the temple on the right. Here, not far from it, closer to us, among the wheelbarrows is a figure reminding us of an angel or an archangel accompanying the wheelbarrows to the kingdom of heaven.
The whole picture looks more like a sketch of a global idea than a real full-fledged work. Here, obviously, somehow the artist provides us with a free interpretation of the biblical knowledge about the travels of souls from the Christian church to the heavenly church. However, such work clearly does not correspond to the canons of the sacred church, and what was on the mind of Salvador Dali himself when he painted this, we can only guess about it.
In colors, the artist, as usual, is stingy, mostly it is a rusty red color. We can see a little blue tone at the top of the dome-head. The rest is brown paint diluted to a very liquid consistency, with thin, almost pencil graphic sketches ...
Painting Rye Shishkin