Museum Arno Breker


Salvador Dali





Dali: Kreuz von Asturien


Dali: Kreuz von Asturien,
1975, für Arno Breker,
Royal Dali Collection


Die Beständigkeit von Freundschaft und Zeit
Die Künstlerfreundschaft Salvador Dalis zu Arno Breker kam erst Anfang der 70-er Jahre in die Öffentlichkeit. Mit dem gegenseitigen Schaffen waren sie beide jedoch vertraut seit 1927. In dieser "wilden Pariser Zeit" mit Josephine Baker, den schönen der Nacht vom Montparnass und den gelangweilten reichen Damen in den Salons habe man sich dann und wann begegnet, erinnerte sich Dali an den jungen Breker. Durch unterschiedliche Lebensart und ein Wirken in verschiedenen Gesellschaften (USA und Europa) ergaben sich erste nach 1945 Chancen für einen Dialog.
1970 schließlich äußerte Dali den Wunsch, sich von Breker verewigen zu lassen. Dali war von der Büste Jean Cocteaus begeistert, den er sehr schätzte. Der Surrealist lud Breker nach Spanien ein. Dort entstanden die Porträtbüsten. Dali war so begeistert, dass er einmal in New York dabei ertappt wurde, das Breker-Poträt als sein "Selbstbildnis" auszugeben.
Dali hatte zwei Visionen: er wollte das große Relief KAMERADEN für sein Museum in Figueres. Er wollte, dass Dali-Porträts von Arno Breker als Monumente der "Beständigkeit von Freundschaft und Zeit" auf den Felsen von Cadaques, vor dem Trocadero in Paris und auf einem Wolkenkratzer in New York aufgestellt werden. Dieser Wunsch hat sich noch nicht erfüllt.
Dali schrieb 1976 in einem Text "Das Genie und das Göttliche"
The Genius and the Divine
"God and genius – that is an inseparable unity. There is a man of Genius ! There is Dali !
Infinitely, like the divine spirit, the man of genius exists.
If the divine Dali – who is also a tool to eternity – through his comet-like course over the earthly existence – taught the privileged once a new dimension of seeing his brilliant works, than that is a splendid achievement. And thee find their reflections in other highlights of the art of all centuries and millennia. For me the man of genius who manifests himself among the sculptors is especially Arno Breker, as also perhaps Michelangelo.
Who says: Dali has never known Michelangelo and known Breker to late ?
Wrong! Dali met Michelangelo in the flame of Genius, which surrounds him also with Breker and which continues to glow in the painting of Ernst Fuchs.
We are the GOLDEN TRIANGLE: Dali – Breker – Fuchs. No matter how one may turn us, we are always on top.
The genius is immortal und so is also the works of Arno Breker. He who does not comprehend his work has not relationship with the divine of man. Poverty of soul ! What a curse !
Dali and Breker understand each other, because they have so much in common and yet are so different. I myself am delighted when I am attacked, because I stir up the envy of these people. Bravo! The jealousy of the discontented is the barometer of success.
Breker detests hate and infamy, because he would like to see human energy and the force of the spiritual universe being used only for the Divine.
I say: No! Because the less the others show divinity, the greater is my own monument.
The divine Dali loves Gala, Dali, and dollars. I also love the beauty and perfection in their diversity and can never get enough of them. Dali loves the divine in the sculpture of Breker and personally requested Arno Breker to make a portrait of him Nor other sculptor would be worthy to cooperate on my immortality except Breker. Breker's portrait of me, created together with my highest spiritual inspiration, proves it. Breker has captured the essence of my soul.
If one day Paris builds me a monument – as I have already suggested years ago, with a cosmic rhinoceros at the Trocadero – than Breker's magnificent portrait should be the crowning piece. Naturally, in monumental size, so that also crowns the Trocadero.
I and Breker have already decided upon the material during our sessions: it must be white marble from which the head will be chiselled, bald like an egg of Dali which adorns my residence in Port Llegat. And the corona of hair – which Breker formed as a symbiosis of the sea waves of Cadaques and, to Dali most befitting laurel wreath – should be set upon the head in gold-plated bronze, like a halo.
And when some day America builds me a monument, than it should be another exemplar of this work. It should greet the universe from a skyscraper in New York City, high above the Statue of Liberty. Dali's idea and Breker's work would find in it the most congenial union. In Arno Breker there is an exaggeration toward surrealistic reality, in which Breker likes to make and makes the perfection of the sculpture, with explosive impulse, even more perfect. And thus he succeeds in creating a miracle which words cannot reach.
The insecurity, which rises in the confused brains, arouses then lightning bolts of defamation, thunder of envy, and a violent storm of jealousy. This chaos is for me an occasion for amusement; for such a storm can never reach the genius.
The Genius is a sun. And among the sculptors of this century, Arno Breker is the sun of suns, which beams forth its radiant light in to the coming millennia.
To this never-ending Light this adoration is dedicated by
Gala and Dali.
Salvador Dali hat Arno Breker Graphiken und Skulpturen gewidmet.
Arno Breker hat Porträts von Dali geschaffen.