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A painting from Dalí's classical period which references Roman arch architecture and a bust of Nero with the nose detached. Many elements are floating in space in pieces but maintain a prevalent symmetry. The background landscape is classical Dalí blank wide open golden plane but in this case there's mountains in the far distance. Besides the titular bust are represented pomegranates, adoring pilgrims and soldiers, a cypress tree, and 4 ink wells. Dalí had a complex personal association of Nero with chance and so the atomic theme ("atomicus nemo" [not Nero] is written clearly on some of the disassembled architecture) informs in both directions.

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A painting from Dalí's classical period which references Roman arch architecture and a bust of Nero with the nose detached. Many elements are floating in space in pieces but maintain a prevalent symmetry. The background landscape is classical Dalí blank wide open golden plane but in this case there's mountains in the far distance. Besides the titular bust are represented pomegranates, adoring pilgrims and soldiers, a cypress tree, and 4 ink wells. Dalí had a complex personal association of Nero with chance and so the atomic theme ("atomicus nemo" [not Nero] is written clearly on some of the disassembled architecture) informs in both directions.
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Tarnport (tarnport@mastodon.green)'s status on Sunday, 06-Jul-2025 05:42:19 JST Tarnport

Salvador Dalí. Dematerialization near the Nose of Nero, 1947.
Throughout his career Dalí made evident but sometimes inscrutable references to mysticism and what he considered to be sacred knowledge. Also to Nero, who for him was related to both these ideas. I compare the treatment here of the atomic bomb to his brilliant Christopher Columbus painting more than a decade later, which seemed to overtly prefigure the Moon landing by several years.
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