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Bernard Gotfryd, 1973 · Library of Congress (Bernard Gotfryd collection), via Wikimedia Commons · Public Domain
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Sources
- Salvador Dalí
- Sotheby's, "Collector's Item: How Philippe Halsman Befriended Salvador Dalí" -- independent account (drawing on Halsman family testimony, incl. his daughter) of the 1948 "Dalí Atomicus" shoot: ~28 attempts, each requiring the photographer to run upstairs to develop and check a contact print before resetting the whole physical setup (thrown cats, tossed water, suspended furniture, Dalí airborne) and trying again. Describes a mutual, years-long (from 1941) creative partnership -- 'Dalí gave Philippe permission to go crazy and be experimental' -- not merely a single sitting. Non-self, behavioral, independent of Dalí's own testimony.
- Fundació Gala-Salvador Dalí, "Documenting the Painting Technique" -- the Dalí foundation's own conservation department describing its technical study of his canvases: infrared reflectography reveals underlying preparatory graphite drawings and pentimenti (visible paint-layer corrections), examined under natural/raking/UV/infrared light and magnification to reconstruct his actual layering and brushwork process. Independent conservator/technical analysis, not self-testimony.
- Martinez-Conde et al., "Marvels of Illusion: Illusion and Perception in the Art of Salvador Dalí," Frontiers in Human Neuroscience (2015; PMC4586274) -- independent, peer-reviewed neuroscience/art-history analysis. Documents that Dalí 'experimented very carefully with sketching shapes, shading, edge details, and placement to set up the double images' across multiple named works (e.g. analyzing how his choice of hues/shading in The Three Ages leads the eye to group unrelated shapes into a face), i.e. a deliberate, systematic, sustained perceptual-engineering method (his own term: 'paranoiac-critical method'), not an incidental byproduct of talent.
- Open Culture, "Alfred Hitchcock Recalls Working with Salvador Dalí on Spellbound" -- reproduces Hitchcock's own 1962 recorded interview with Francois Truffaut recalling Dalí's proposed imagery for the 1945 dream sequence (a statue cracking open with ants crawling over a Bergman figure underneath; 15 dangling pianos), which studio/production realities ultimately could not accommodate. An independent third party's (Hitchcock's) firsthand account of Dalí's actual creative behavior on a specific project, not Dalí's own self-description.
- The Dalí Museum (St. Petersburg, FL), "Gala Dalí" -- independent institutional account describing Gala's role from 1937 on as his business manager, 'responsible for organizing the day-to-day details of life, allowing Dalí to paint,' including that she 'always insisted that he pay careful attention to his technique' and personally selected his paints/varnishes/brushes/frames. Institutional, non-self account of the practical structure around his studio practice.