50 Secrets of Magic Craftsmanship by Salvador Dali

By Salvador Dali

Rare, vital quantity during which famed Surrealist expounds — in his inimitably eccentric model — on what portray will be, the heritage of portray, what's reliable and undesirable portray, the advantages of particular artists, and extra. contains his 50 "secrets" for getting to know the craft, together with "the mystery of the painter's pointed mustaches."

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12. The secret of the painter's marriage. 13. The secret of why Gala loves Painting and why Painting loves Gala. 14. The secret of the form of an olive by virtue of which the painter may be guided in choosing the woman he must marry. 15. The secret for constructing an aranearium. 16. The secret of the retrospective utilization of araneariums. 17. The secret, very simple but important, of a small roof to protect the picture from dust. 18. The secret of the painter's pointed mustaches. 19. The secret of learning to paint before knowing how to draw.

The movement of your stipple brushes must be as mechanical and indifferent as your human organism will allow. And, finally, the movement of the fan-shaped badger brush is the most rapid of all—so rapid that it cannot even be seen, exactly like the wings of the hummingbird. To execute this exceptionally rapid movement of wing-like blending with the badger brush you must proceed as follows, and here I give my Secret Number 2. You roll up your shirtsleeves to your elbows, you rest your left elbow on your left knee, and you place your left foot on an inclined and flexible tabouret, preferably having a spring, exactly like the springboards used for jumping in a gymnasium, but in miniature.

2. What I have said about perfumes also applies to music. A melody associated with a memory or a being will evoke that memory or being in your dream if the melody is played quietly while you sleep. 3. A very intense light on our pupils, or a gradual pressure upon them by an appropriate pneumatic apparatus, will make you dream in colors. To achieve a painter's slumbers will, in fact, require a long period of training. And the most characteristic slumber, the one most appropriate to the exercise of the art of painting, among all the kinds of slumbers that exist and that have existed since antiquity is the slumber which I call “the slumber with a key,"—and this is Secret Number 3—which ought to be called the slumber with a brush, if one were to replace the key by a very heavy metallic brush.

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