salvador dali dadaism
Surrealists placed great emphasis on the importance of dreams. To a Surrealist, dreams are an entry into another reality that is just as valid as our waking consciousness. Dalн was influenced by Sigmund Freud’s psychoanalysis of dreams. The importance of exploring these ‘other realities’ added a mystical, if not religious, element to some surrealist artwork.
Virtually every artistic principle and device which underlies the literature, music, theater, and visual arts of our time was promoted, if not invented, by the Dadaists: the use of collage and assemblage; the application of aleatory (chance, uncertainty) techniques; the tapping of the artistic resources of the indigenous cultures of Africa, America, and Oceania; the extension of the notion of abstract art to literature and film; the breaking of the boundaries separating the different art forms from one another and from “everyday life”; the notion of art as performance; the expropriation of elements of popular culture; the notion of interaction or confrontation with the audience–everything which defines what we loosely call the “avant-garde.”
Gala died on 10 June 1982, at the age of 87. After Gala’s death, Dalí moved from Figueres to the castle in Púbol, where she was entombed.    In May 1983, what was said to be Dalí’s last painting, The Swallow’s Tail, was revealed. The work was heavily influenced by the mathematical catastrophe theory of René Thom. However, some critics have question how Dalí could have executed a painting with such precision given the severe tremor in his painting arm. 
Dalí completed only one other film in his lifetime, Impressions of Upper Mongolia (1975), made in collaboration with José-Montes Baquer, in which Dalí narrated a story about an expedition in search of giant hallucinogenic mushrooms. 
- Call Number: NX600 .D3 B3413 1974
Dickerman, Leah and Witkovsky, Matthew S. The Dada Seminars. National Gallery of Art, 2005.
Sophie Taeuber-Arp: Composition of Circles and Overlapping Angles, oil on canvas, 495×641 mm, 1930 (New York, Museum of Modern Art); © 2007 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, photo © Museum of Modern Art/Licensed by SCALA / Art Resource, NY
International in scope and diverse in artistic output, both Dada and Surrealism were artistic, literary and intellectual movements of the early 20th century that were instrumental in defining Modernism. The Dada movement, launched in 1916 in Zurich by poets and artists such as Tristan Tzara and Hans Arp, was a direct reaction to the slaughter, propaganda and inanity of World War I. Independent groups linked by common ideas sprung up soon afterwards in New York, Berlin, Paris and elsewhere. These various groups did not share a universal style, but rather were connected by their rejection of idealism, stale artistic and intellectual conventions and modern society’s unchecked embrace of ‘rationalism’ and ‘progress’. They condemned the nationalist and capitalist values that led to the cataclysm of the war and employed unorthodox techniques, performances and provocations to jolt the rest of society into self-awareness. The absurdity of Dada activities created a mirror of the absurdity in the world around them. Dada was anti-aesthetic, anti-rational and anti-idealistic. Key figures such as Marcel Duchamp disturbed the art world with his ready-mades such as Fountain (which is simply a urinal). Dada’s challenge to conventional notions of ‘high art’ radically impacted later developments in conceptual art, performance art and post-modernism among others.
The secret of my influence has always been that it remained secret. ”
In 1937, Salvador Dali visited Italy, and during this trip, was able to experience many new art forms and creation pieces. During this trip, his work took a turn, towards a more traditional, and more academic style, in comparison to some of the earlier works he created as a surrealist painter. This change in his art form, along with the political beliefs which Salvador Dali held, caused Breton to expel him from the surrealist art movement. Shortly after, in 1940, he moved to the US, where he remained until 1955, experimenting in this new style and technique, and with new design concepts which he had adopted while in Italy.