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Dalí’s paranoiac-critical obsession with Jean-François Millet’s painting "The Angelus," (1857-59) came about as the result of several experiences. He had been familiar with the painting during his childhood from a reproduction that hung in his classroom, which was one of the most popular reproductions in the world at the turn of the century. During the artist’s childhood, he associated the Angelus with his reveries at twilight, and the songs of the insects at that time of day made him think of ancient times. This painting presents several aspects of Dalí’s hallucinatory fascination with the painting, altering the interpretation from the reverent mood of evening prayer to sexual repression and oedipal anxiety. In "Meditation on the Harp," Dalí portrays the reverent couple towering over the landscape, dominating the composition in a sexually suggestive pose. While the male is clothed, the female is nude and holds her partner in a way to suggest a prelude to lovemaking. In both Millet’s work and Dalí’s iconoclastic transformation, the male’s hat is positioned over his genitals. Perhaps he hopes that the female will not notice that he is aroused and thus he will not be cannibalized after sex. Dalí’s idea for this predatory relationship came from practices in the insect world, as with the praying mantis whose copulation leads to cannibalism. Dalí’s interest in the praying mantis came from Jean Henri-Fabre’s book Insect Life published in 1901. The other Surrealists were also aware that female praying mantises, when in captivity, will kill their mate after copulation.

Meditation On The Harp - Salvador Dali - Surrealist Art Painting

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Dalí’s paranoiac-critical obsession with Jean-François Millet’s painting "The Angelus," (1857-59) came about as the result of several experiences. He had been familiar with the painting during his childhood from a reproduction that hung in his classroom, which was one of the most popular reproductions in the world at the turn of the century. During the artist’s childhood, he associated the Angelus with his reveries at twilight, and the songs of the insects at that time of day made him think of ancient times. This painting presents several aspects of Dalí’s hallucinatory fascination with the painting, altering the interpretation from the reverent mood of evening prayer to sexual repression and oedipal anxiety. In "Meditation on the Harp," Dalí portrays the reverent couple towering over the landscape, dominating the composition in a sexually suggestive pose. While the male is clothed, the female is nude and holds her partner in a way to suggest a prelude to lovemaking. In both Millet’s work and Dalí’s iconoclastic transformation, the male’s hat is positioned over his genitals. Perhaps he hopes that the female will not notice that he is aroused and thus he will not be cannibalized after sex. Dalí’s idea for this predatory relationship came from practices in the insect world, as with the praying mantis whose copulation leads to cannibalism. Dalí’s interest in the praying mantis came from Jean Henri-Fabre’s book Insect Life published in 1901. The other Surrealists were also aware that female praying mantises, when in captivity, will kill their mate after copulation.

The Spanish painter Salvador Dali remains one of the most controversial and paradoxical artists of the twentieth century. Over last few decades, Salvador Dali has gradually come to be seen, alongside the likes of Picasso and Matisse, as a prodigious figure whose life and work occupies a central and unique position in the history of modern art.   Dali has also come to be regarded not only as its most well-known exponent but also, to many people, as an individual artist synonymous with Surrealism itself. In addition, Dali was a great artist who was a great self-publicist and showman. The combination was an irresistible formula for success.


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