salvador dali - marketing and advertising study

“Every morning when I wake up, I experience an exquisite joy – the joy of being Salvador Dali – and I ask myself in rapture, ‘What wonderful things this Salvador Dali is going to accomplish today?’”

Salvador Dali

AMERICAN UNIVERSITY COLLEGE OF SCIENSE & TECHNOLOGY

Zahle Campus Fall 2003-2004

Senior Study Salvador Dali

Instructor: Miss Ghada Karam Proof Reading: Mr. Afif Khalil Done by: Bassem Al Ahmar

"The world will admire me. Perhaps I'll be despised and misunderstood, but

I'll be a great genius, I'm certain of it."

"Have no fear of perfection -- you'll never reach it."

Salvador Dali

Contents

1. Introduction 01

1.1. History and Background 02

1.2. Objective 05

2. Competitor 07

2.1. Minor Competitor 07

2.2. Major Competitor 10

3. Market Study 13

3.1. Dali’s Artworks Specification 13

3.2. Price 14

3.3. Promotion 15

3.4. Place 16

4. Target Group 19

4.1. Define the Target Group 19

4.2. Kind of Questionnaire and Tables 20

4.3. Analyzing the Target Group 22

5. Creative Strategy 25

6. Media Strategy 27

7. Budget 29

8. Evaluation 32

9. Appendix 34

Abstract

Who has ever dreamt of conducting his own experiments based off his

wildest dreams? Who plunged off a staircase to give the example of anti-

limitation?

Everything has meaning to Salvador Dali, where he brought that meaning

to the real life of the world of Art. Dali realized that what others think is

important through his paintings, learning to think outside the box and everything

for one instant will make sense in mind.

The aim of this research is to launch Salvador Dali’s artwork in the

Lebanese market by exhibiting his works in a museum. This is done, in order to

reveal his vague style and be well known to different kinds of Lebanese

audiences. However, a market study was essential to base the study of the defined

target group that has real interest in knowing about the famous artist, Dali. The

results of the questionnaire and its analysis assisted the report to be directed into

the right creative strategy which was bonded in a creative concept with the

objective, history and background of Dali’s lifestyle.

Senior Study Salvador Dali 1

1. Introduction Of all the modern art and their achievements, one stands out above all

the others. Surrealism is known as an abstract art. Surrealism by definition is a

movement in literature and fine arts, known by French poet and critic Andre

Breton. It is the role of the unconscious and dreams in creative work

(History of Surrealism, 2003)

In art, Surrealism is defined as a 'Paranoia Critical Method', the way of

perceiving reality; it is the process of how the artist’s ability reflects the world

around him, and the ability to view double images in the same composition.

(Dali-Gallery, 2003)

This method was well-known by Salvador Dali, a Spanish Surrealist

artist, in which he minded to his unconscious and dreams, freezing them

through art and analyzing them well. However, Salvador Dali transferred his

unique characteristics to his own art form or even a signature. He was able to

create what he called 'hand made photographs', which were physically painted

representations of the hallucinations and images he would see while in his

paranoid stare (Dali-Gallery, 2003).

"Paranoia-Critical activity organizes and objectifies in an exclusivist

manner the limitless and unknown possibilities of the systematic

association of subjective and objective 'significance' in the irrational"

Salvador Dali


1.1. History and Background

Salvador Dali was born on May 11, 1904, in the small agriculture town

of Figueres, Spain (Gifreu, 2003). His full name is Salvador Felipe Jacinto

Dali Domenech. He spent his childhood in Figueres and at the family’s

summer home in the coastal fishing village of Cadaques. His parents built for

him his first studio that was situated in Cadaques.

The name 'Salvador' had been given to Dali’s older brother who died in

youth. When he was born, Dali was named by this name. No one could have

known just how revolutionary and important this name would become to the

art world. Dali was a difficult child; he refused to be traditional to family or

community costumes. Dali’s father, a respected notary, his mother and his

younger sister, all encouraged Dali’s early interest in art. In addition, Dali’s

talent and interests were refined and grew as he grew (Dali-Gallery, 2003).

When he was young, Dali attended the San Fernando Academy of Fine

Art in Madrid. He had been recognized early with his first one-man show, held

in Barcelona in 1925. He gained his international distinction when three of his

paintings were shown in the third annual Carnegie International Exhibition in

Pittsburgh in 1928. However, this was his prime 'starting block'.


Dali always had excellent grades in his academic pursuits and never

took final examination, as he believed that formal schooling education was not

of his type. This belief was because of Dali’s passion for the arts and his need

to experience life on his own, which could not be met within the confines of

school. Dali moved into an angler's shack in the small village of Portlligat,

which has become the site of Dali’s future home where he would spend many

years of his life (Dali-Gallery, 2003).


When Dali went to Paris, he joined the Paris Surrealist Group. At this

time, he met Gala Eluard as she visited his Cadaques with her husband. She

became the most important person in his life, his wife and soul mate. She

served as a stabilizing force through most of the remainder of Dali’s life. She

took charge of every aspect of his existence, financial, artistic, and sexual.

Dali then became well-known as a famous painter in Paris. Gala was a main

reason. His paintings were exhibited in Surrealist shows in most major

European cities and in the United States. The two were married in 1934 at a

civil ceremony and made their first trip to America. (Dali-Gallery, 2003)

Two great forces had shaped Dali’s philosophy and art: Sigmund

Freud’s theory, who is a Surrealist poet and philosopher of the unconscious,

and his association with the French Surrealists (Gifreu, 2003).

The Surrealist movement influenced Dali’s artistic style and

crystallized it into the disturbing blend of specific Realism and Dreamlike

fantasy that has become his trademark. His paintings combined and detailed

with a unique and exciting imagination. Thus, his pictures were described as

'hand-painted dream photography'.

In 1931, Dali emerged, as a leader of the Surrealist movement and his

painting, Persistence of Memory, is still one of the best-known Surrealist

works. By 1940 he moved into a new era, one that he termed 'classic'.

(Gifreu, 2003)

Dali produced two films: An Andalusia Dog (1928) and The Golden

Age (1930), in collaboration with Bunuel. In 1974, Dali opened the Teatro

Museo Dali in Figueres. This was followed by retrospectives in Paris and

London at the end of the decade.


After his wife and soul mate’s death in 1982, Dali’s health began to fail and it

became worse after he was severely burned in a fire in Gala’s castle in Spain,

in 1984. Two years later, he had a modernizer implanted and he spent his life

almost in total isolation. Between the years 1980-1989 Dali spent the

remainder his life in his private room in the Tore Galatea, adjacent to the

Teatro Museo Dali. Salvador Dali died in a hospital in Figueres because of

heart stoppage and respiratory complication in 23 January 1989.


One of the things which distinguish him is that he is the only artist in

history who has two separate museums dedicated exclusively to his works

erected during lifetime. Salvador Dali Museum in Florida, and Theater Museo

Dali in Spain (Gifreu, 2003).

Note: there is an article written by George Orwell about Salvador Dali (shown in appendix 1)


1.2. Objective

The study of this research is to launch the artwork of Salvador Dali in

Lebanon and introduce it to different kinds of audiences who might have the

interest to appreciate his work.

Actually, it is important to define the kind of market in which his

artwork is being positioned at this period, especially after all the technological

aspects that the world has gone through. Dali’s artwork is expensive and not

easy to understand. People who are studying or who are interested in ‘History

of Art’ or studying Interior, Graphic, Architecture, and Fashion design might

know about Dali. Indeed, his paintings are important in the field of design

since artists or designers can use his work as an idea that might help to

motivate their creativity and produce new designs.

Concerning Lebanon, if Dali's artworks are going to be launched in the

Lebanese market then it should be in the Pioneer Stage of the Product Life

Cycle (PLC). Pioneer stage is when a product is being introduced newly in the

market. The reasons for them to be in the pioneer stage are that most of his

artworks are new in comparison to the Lebanese artwork style. The subjects,

unusual to the Lebanese public, are of surrealism, which depends on

imagination and dreams; consequently, Dali's artworks are obviously creative

but abstract in style and hard to understand or it could be understood relative

to the personal perception of the audience. This would explain that Dali's

artwork is in the niche market since it is up to the standard of the most famous

artists in the world. Therefore, his artwork can be the leader in the Lebanese

market and be a good example for the Lebanese artists.

Furthermore, the kind of advertising message that will be used later in

the campaign of the senior project will be informative and educative. This is

important because at an early stage of launching a new idea in the market there

should be a need for the audience who influences and searches for the creative


artwork of Salvador Dali. Such message could include some examples of his

work or more details concerning his personality, to allow the public to know

more about this artist. Therefore, Salvador Dali will become clearly known to

the Lebanese public.

Dali's artworks are important and so interesting because of the surrealist

theory of automatism that he transformed into a more positive method, which

he named 'critical paranoia'. However, this method is not only used in artistic

and poetical creation but also in his daily life by the unreal dream space that

he depicted and by the strangely hallucinatory characters of his imagination

(Gifreu, 2003).

Finally, this report should achieve after this study a successful

advertising campaign that will be applied in the 'Senior Project of GDP'. In

addition, the creative strategy should be creative as much as it should meet the

main objectives of this study.


2. Competitor In order to introduce a new artist in accordance to the nature of art in

Lebanon the interests of Lebanese people relative to art, and what appeals to

them, it is important to study what other artists presented to Lebanese country

and to its public.

2.1. Minor Competitors

There are different kinds of artists in Lebanon, however, the most

important ones are considered as minor competitors compared to the works of

Dali. Thus, these artists are displayed in a chronological order according to the

history of art in Lebanon. This is presented as shown below:

Daoud Corm (1852-1930)

He was born in the village of Ghosta, Keserwan in 1852. Daoud entered

the Royal Academy of Fine Arts in Rome; he regularly visited the most

famous museums and painting schools, such as the Saint Lucas School and the

Luigi Atelier. He then moved to Belgium where he was appointed the painter

of the Royal Family of Belgium at the time of Leopold II. When Daoud came

back to his homeland, Beirut, he constantly traveled to Syria, Palestine, Egypt,

Iraq and Turkey to paint the eminent figures and governors there, and in the

great churches. One of Daoud’s most perfect masterpieces is the portrait of

Khedive Abbas II in 1894. He also made a portrait of the famous Marquis of

Reverseaux, French ambassador to Egypt (Lebanese Art, 2003). At the

beginning of the 20th century, Daoud founded a modern library in Lebanon,

the "Liban Papeterie aux Cèdres". He used to sell painting and drawing

materials such as canvas, frames, pastel, and Charcoal (Lebanese Art, 2003).

Daoud Corm is considered the pioneer of the art of painting in

Lebanon, as he was the first one to teach its rules and techniques. Thus, the art

of painting is rendered a science and a style rather than a pure natural talent.


Many were inspired by his art. His son, George, had studied under his

father’s guidance, became a famous painter himself, and received many

medals (Lebanese Art, 2003). Jibran Khalil Jibran is another one of his

students. He was taught by Daoud the art of portrait painting before pursuing

his studies in Paris and Boston at the age of 15. Other students are Khalil

Saleeby and Habib Srour, the famous Lebanese painter, who in his turn

transmitted his art to both Mustafa Farroukh and Kaissar El-Gemayel (George

Corm, 2003). Daoud Corm executed one of his works, Still life - The

Watermelon (figure 1). While his works are based on the realistic style of

painting, which is characterized on the details of substance, in soft brush

stroke, and reflect the reality of people’s life (Lebanese Art, 2003)

Mustafa Farroukh (1901-1957)

He is a contemporary Lebanese artist born in Beirut in the year 1901.

He graduated from the Royal College of Fine Arts in Rome on the year 1927.

He proceeded to Paris, where he studied under famous French painters, of

whom Paul Chabas President of the Society of French Artists. One of his

exhibitions held at the American University of Beirut and another at the school

of Arts & Crafts. To spread the knowledge of Fine Arts in Lebanon he started

teaching at the American University of Beirut, Teachers Training school, and

started lecturing at the 'Cenacle Libanais.' (Lebanese Art, 2003).

Figure 1


He controlled his art, because of his deep understanding of the basic

rules and strength of the painting profession. He exhibited his paintings in the

International Exhibition in New York and his name was registered in the

Benezit International Dictionary of Art in the year 1950 (Lebanese Art, 2003).

Farroukh received the first prize of the President of the Republic for the

year 1955, the Lebanese order of Merit, and the order of the Cedar ‘knight and

Officer’. His total paintings were more than 2000 sold to collectors inside and

outside Lebanon; his work also reflected the Lebanese life in realistic style of

art (figure 2). He wrote five books, Bilad AL Majd Almafkoud a study of the

Andalusian art, The Story of a Person from Lebanon and Art & Life which is a

collection of lectures and art studies, and Woujouh el As' works in Indian ink,

and an autobiography Tariki Ila Alfan (Lebanese Art, 2003).

Jean Khalife (1923-1977)

Born in Hadtoun, Jean Khalife had a brilliant artistic career, winning

several awards and holding numerous exhibitions. The method in a work

painted by Khalifé reveals a presence much out of ordinary - a presence of

strength, energy, and a virile rationality of design. In addition, the quality of

the graceful and energetic color explodes in flowers, bouquets, and the large

contrasted surfaces of sunlight, shadow, and sea (Lebanese Art, 2003).

However, drawing and color remain passive to an inner truth that found

is in the luminous foreheads of young girls, whom a contrast of light and

Figure 2


shade causes to "hesitate". Sadness, hope, dialogue, exchanges, and so many

gestures of soul and body which express love and expectation are among his

works (figure 3). Loneliness and communication, lines reduced to the essential

and the virulence of color, forms graceful or else fractured - the painting of

Jean Khalife uncovers that dauntless zone of Lebanese national identity that

knows the double challenge of life and of death (Lebanese Art, 2003).

2.2. Major Competitor

Dali is an artist, writer, and director who is well-known world wide by

his Surrealistic artworks. However, Gibran Khalil Gibran is a Lebanese writer,

sculpture, and painter who is well-known by Arab countries and even world

wide. I have chosen Gibran Khalil Gibran as a major competitor to Dali

because of many aspects that both of them share or have in common.

Gibran Khalil Gibran

Gibran Khalil Gibran is a Lebanese writer, painter and sculptor. He was

born in 1882 in Bsharri, a town in north Lebanon. His mother died of cancer.

(Lebanese Art, 2003)

As for his learning, Gibran showed particular interest in drawing and

painting. This interest started as a hobby in his childhood in Lebanon. He

proved to be a solitary and pensive child who had been influenced by the

natural surroundings of his neighborhood, the beauty that affected his

Figure 3


drawings and writings dramatically as well as symbolically. The mysterious

Bostonian artist – photographer Fred Holland Day, affected his attitude

greatly. In addition, he joined Al-Hikma high school in Beirut, where the

study program laid stress on Arabic and French language and literature. In

1904, Gibran held his first art exhibition, a picture exhibition at Fred Holland

Day's studio. Gibran had an isolated character and a world on his own. His

psychological personality was revealed and expressed in his painting with lots

of depth in meaning and style (Lebanese Art, 2003). Gibran met Amine Rihani

for the first time in Paris, while Amine was on his way to New York, thus,

they continued their way together and visited London for several weeks as

they became conversant with the art life in the city (see figure 4), then they

departed, Gibran went to Paris and Rihani to America (Lebanese Art, 2003).

After two years in Paris, Gibran returned to Boston, and then he spent

his several intervals in New York where he devoted himself to writing and

painting, mostly with Rihani. He completed the illustrations and cover picture

for Rihani's Book of Khalid. Gibran became a resident of New York City. His

works were influenced by the American popular culture in 1960s. He

published there most of his famous novelette which are:

• Al Ajniha Al-Mutakassira, Broken Wings

• Al Mawakib, The Processions

• The Wanderer

Figure 4


• The Forerunner

• The Prophet, that continued by another pen than Gibran

(Lebanese Art, 2003)

Extract from The Prophet:

• Gibran on Friendship

For it is his to fill your need, but not your emptiness.

Moreover, in the sweetness of friendship let there be laughter, and sharing of

pleasures.

• Gibran on Love

When you love you should not say, "God is in my heart," but rather, I am in

the heart of God."

• Gibran on Marriage

You were born together, and together you shall be forevermore.

You shall be together when white wings of death scatter your days.

• Gibran on Children

Your children are not your children.

They are the sons and daughters of Life's longing for itself.

• Freedom

In truth that which you call freedom is the strongest of these chains, though its

links glitter in the sun and dazzle the eye (shown in appendix 12).

(Gibran, The Prophet)

In 1920, Gibran published in Cairo many other books. Lastly, all his

inscriptions collected and gathered by Mikhail Naimy, and appeared in Beirut

in 1961. In addition, Gibran Khalil Gibran is not only known to Lebanese or

Arabic people but also to Europeans and Americans. Therefore, Gibran is a

major competitor to Dali, while both of them share or have many aspects in

common, for example, the place that both of them have become famous in

(New York City). Indeed, Dali's artworks are well-known outside Lebanon

and the Middle East, which makes his artwork as a principal in the Lebanese

market and a good example for the Lebanese artists.


3. Market Study

The market in general is the place where goods and services are

exchanged or offered to consumers who want to satisfy different needs and

wants (Kotler, 2003). The market in this case includes those who are interested

in art, or in the unique, incomparable art done by Dali. This result is due to the

following study that should be parallel to the needs of the target audience and

parallel to the new creative strategy. The study will comprehend the following:

3.1 Dali's Artworks Specification

Dali's artworks are the product which undergoes consumer’s specialty

products that have a unique characteristic, attract a significant group whom are

interested in this type of art.

Dali's artworks are important and interesting, because of the Surrealist

theory that he transformed into images on canvases or even by objects, which

he named 'critical-paranoia' because of the unreal dream and hallucination

characters of his imagery (Gifreu, 2003). His works reflected many elements

from his Catalan culture, and his wife Gala plays a major concept in most of

his paintings; moreover, his style is full of double images (figure 5), and he

often described his pictures as 'hand-painted dream photography'.

Figure 5


Gibran Khalil Gibran is a major competitor to Dali, that is because he is

a Lebanese writer and artist who is well-known worldwide. Gibran artworks

are characterized in the deep meaning of life (figure 4), the world of people

are living in and the Day of Judgment. Images that are used in his paintings

and drawings of humans are full of motion and depth, while the beauty of a

woman's figure is Gibran's unique style. His belief in the unity of being and

awareness of spiritual continuity, all play a role in his artistic style.

(Karam, 2003)

3.2. Price

Price is the amount of money paid for a purchase. It is conducted

according to internal and external factors affecting a certain company,

internally like the objectives and strategies set, and externally like the

economic situation and the legal system. At the end, the price-taker

"consumer" is the one that evaluates the price by the product he purchases, this

is from a business perspective, (Kotler, 2003).

In art, price is set according to the level of creativity and uniqueness,

which is evaluated by a knowledgeable specialist committee, the critics.

Critics often depend on the values of painting composition. These values are

based on harmony, which is the creative elements, emphasis, which is a

specific element to make the concept more attractive by using certain

techniques, contrast, which is the difference in use of size, color, image and

tone, and balance, which is to allow the eye to be relaxed by the first look.

(Karam, 2003)

However, Dali is a modern artist, while modern art is characterized in

that every artist in this period has his unique style, so no one could imitate his

work, and his work becomes a signature (figure 5). Dali's artwork is a highly

unique style which transferred into a signature that resembled his name.


However, its materialistic value is defined by the level of creativity; therefore,

the price of his painting becomes high.

3.3 Promotion

Promotion is used to encourage sales by offering coupons samples and

other materials (Kotler, 2003). In Dali's case, a kind of sales promotion tools

are applied by the foundation through using samples and advertising specialist

that reflect his artistic view. The price of Dali's master piece work could only

be attained by the middle and high classes of society, so the foundation of Dali

(Gala-Salvador Dali Foundation in Spain) works to keep his image of art alive,

and attainable to the different levels of society by offering samples and

advertising specialist.

The samples of Dali's artworks are printed posters from the original

paintings and sculptures. In addition, jewelry, objects, and clocks all reflect

Dali's style in painting; for example (figure 6), the melting clock on his

painting, is mounted clock on the wall.

(Gala-Salvador Dali Foundation, 2003).

Moreover, advertising specialist are articles having Dali's signature as a

trademark, like calendars, notebooks, postcards, and biography about Dali's

works. Most of these items are distributed to museum visitors for free to

encourage them for another visit and purchase of Dali's samples.

Figure 6


3.4. Place

Dali is the only artist in history who has two museums that show his

artworks during his lifetime (Gifreu, 2003).

• Salvador Dali Museum in Florida

• Theater Museo Dali in Spain

The Salvador Dali Museum (figure 7) is the famous permanent home of

most comprehensive collections of Dali's artworks; it celebrates 95 oil

paintings, 100 watercolors and drawings, 1300 graphics, photographs,

sculptures and objects art, and an extensive archival library. Moreover, this

collection reflects Dali's major themes and symbols, his evolution to

Surrealism with which he has been best known, and his obsession with

religion and science during his classic period.

(Gala-Salvador Dali Foundation, 2003)

The Theater Museo Dali (figure 8) contains the broadcast range of

works, from his earliest experience until the works of his last years in art.

Some of his artworks that visitors can enjoy in this exhibition are based on

paintings and drawings that Dali gave as presents to Gala to exhibit at the

Figure 7 Figure 8


castle. However, it contains the furniture and many objects, which Gala and

Dali decorated their house with. This museum was conceived and designed by

the artist to let visitors feel the experience of Dali's attractive and unique

world.


Furthermore, his artworks are also available and presented in other

places. The Salvador Dali Museum-House in Portlligat (see figure 9), was

opened to the public in 1997. It is an important place to visit, which shows the

painter's universe. This museum is surrounded by the landscape that Dali

always showed in his paintings. In the house, visitors can see Dali's private

life.


Other exhibitions that Dali's artworks are found in:

• The Museum of Modern Art, New York City

• Salvador Dali Museum, London beside Big Bin

However, Dali's artworks are in the multi national market, but the

Middle Eastern, miss the work of this famous artist. Therefore, it became

important to introduce Dali's artworks to the Middle East through launching it

in the Lebanese market.

Figure 9


On the other hand, the artworks of Gibran, who is the major competitor

to Dali, are exhibited in his house in Bsharri-Lebanon. Nevertheless, during

his lifetime his drawings and paintings have been exhibited in the great

capitals of the world and compared to Auguse Rodin and William Black.

Gibran has his first art exhibition in Boston (Lebanese Art, 2003).


4. Target Group It is important to define the kind of market in which Dali’s artwork has

been positioned in this period, especially after all the technological aspects

that the world has gone through. Dali’s artworks are expensive and not easy to

understand, because of the Surrealist theory of automatism, which is the unreal

dream space that he depicted, and the strangely hallucinatory characters of his

imagination.

4.1. Define the Target Group

It is factual to specify the target group in order to identify the kind of

message in the new creative strategy. Lebanese people who are studying or

who are interested in ‘History of Art’ and even those who are studying

interior, graphic, architecture, and fashion design might know about Dali.

In addition, the overall populations in Lebanon adore spending their

spare time in social activities, such as watching movies, exhibitions, and sport

activities, each according to his interests. Nevertheless, a wild range of them

adore and enjoy art exhibitions, especially those who are in the same field of

art.

Nevertheless, the age and the level of education are the main aspects

that the questionnaire will depend on. The age of 18 and above is the main

concern since they constitute the level of understanding, comprehending and

analyzing issues. It seems that most of those in this age are educated or even

have curiosity to know more. While the level of education in Lebanon is

approximately high. Most of the population is seeking for better education to

achieve high statuses and high income. In other words, the level of education

in Lebanon has created an open-minded population that seeks and understands

new issues and has different interests in different fields, including the art field.


4.2. Kind of Questionnaire

This study of the target group is based on gathering information about

how much Lebanese people know about Salvador Dali, and how much his

work is interesting related to their field of education. According to this, a

questionnaire (shown in appendix 20) has been made and presented to people

to answer it, and then the results are shown in the following tables.

• Visiting art exhibitions

Age 18-25 26-30 31 & above

Always 0% 0% 0%

Regularly 10% 3.33% 3.33%

Sometimes 50% 30% 3.33%

Education Art Science Literature

Always 0% 0% 0%

Regularly 13.33% 0% 3.33%

Sometimes 36.66% 23.33% 23.33% Table 1

• Interested in Modern Art

Age 18-25 26-30 31 & above

Interested 50% 20% 10%

Not interested 10% 6.66% 3.33%


Interested 50% 3.33% 13.33%

Not interested 0% 20% 13.33% Table 2


• Interested to know about famous artists

Age 18-25 26-30 31 & above

Interested 50% 26.66% 6.66%

Not interested 10% 3.33% 3.33%


Interested 50% 10% 23.33%

Not interested 0% 13.33% 3.33% Table 3

• Heard about Salvador Dali

Age 18-25 26-30 31 & above

Heard 33.33% 6.66% 6.66%

Not heard 26.66% 23.33% 3.33%


Heard 43.33% 0% 3.33%

Not heard 6.66% 23.33% 23.33% Table 4

• Know about Salvador Dali

University Media Books Exhibition

Age

18-25 40% 0% 0% 0%

26-30 6.66% 0% 0% 0%

31& above 0% 3.33% 3.33% 3.33%

Education

Art 33.33% 3.33% 0% 3.33%

Science 0% 0% 0% 0%

Literature 0% 0% 3.33% 0% Table 5


• Want to observe his artwork through an exhibition.

According to the questionnaire that has been made for this research,

which depends on the age of 18 and above and the difference in the

educational field, the statistic result was 100% of people interested in

observing Dali’s artwork through an exhibition in Lebanon to be well known.

4.3. Analyzing the Target Group

After making the questionnaire about Dali’s case and gathering

information from the target group, and through analyzing the previous table,

one thing controls all: that this study will depend on the age and the education

of people. Thus, according to this sample the conclusion that the creative

strategy will depend on is as follows:

People between the ages of 18 and 25 are of high rate (50%) and

frequently visit art exhibitions. At this age, curiosity to know and to see more

new things for experience is a major concept, and they are not self-confident,

yet they know very well what they are aiming for in their lives. Moreover,

people at the age of 26 & above are of lesser rate (33.33%). At this age most

of them are in the field of work, and they are focusing on how to be more

expert in their work and being appreciated. In general, they become classical,

with great esteem, ethics, values, traditions, and self-sacrifice.

Otherwise, those who are studying art and have interest in modern art,

even more, who have interest in knowing about famous artists, are of high rate

(50%) because their field of education is also dependent on it. As much as

they know, as much as they become creative. However, those in other fields of

education, for example, those who are studying science, are less interested in

knowing about modern art or even famous artists. Their education is based on

science and knowing more about technology, so they have no interest in.


They comment that it is not a lack of interest; it is more a lack of time where

they usually think that they have to focus more on other things.

The most important result is depending on those who know about Dali,

which is a good example to launch his artwork in Lebanon. Thus, related to

the table (4), the rate of those who have heard about Dali is (46.65%) of the

age (18-25), while (43.33%) heard about Dali because their field of education

is art, and art students have attended a course named ‘History of Art’. This

course is an art core requirement that all art students should attend. However,

an other target group of the age of 31 & above of the rate (6.66%) heard about

him through media or even by visiting his exhibitions outside Lebanon by

traveling (see table 5).

As a conclusion and related to this questionnaire, one result stands

above the others, that (100%) of the target group are interested in observing

Dali’s artwork through an exhibition in Lebanon. Some of them commented

that:

• “It is good to find someone who cares about important artists, like

Salvador Dali, who is an artist of world creation”.

• “It is important to know about his works that are abstract, and you feel

that his work hides something to know about”.

• “We do lack in Lebanon such knowledge concerning global artist.

There is a necessity to know and get exposed to such artwork in order

to have an example to develop more creative ideas in different fields of

art.”


In general and as a conclusion, it is estimated from this test and

questionnaire done on the target group of Salvador Dali that a high percentage

are interested in knowing about such an artist. Therefore, it is important to

introduce Salvador Dali to the Lebanese market and launch a creative

advertising campaign matching his style and objectives. This analysis will

bring the main aim of the senior report forward to this study and make it true.


5. Creative Strategy

The creative strategy, which is going to be followed in the ‘Senior

Project’, must be so impressive and attractive to reach Dali’s level of

creativity. The aim of this creative plan is to make him well-known. Dali

should be appreciated as he is important and appreciated in other countries.

For example, the king of Spain and the First Lady in USA presented Dali and

his work in their countries.

The King of Spain emphasized Dali’s personality as “one of the few

artists from the 20th century who had left a visible mark on all ambits of

culture and life” and “It is an honor to be here today to kick off the Salvador

Dali Museum’s year-long celebration of the birth of Salvador Dali,” Mrs.

Bush said, “Dali’s influence on the art world is one that will never be

forgotten and I look forward to highlighting all that he accomplished”

(3d-Dali, 2003)

According to the market study of this report that specified Dali’s art

and places that hold his work, this would explain that his art is in the niche

market since it is up to the standard of the most famous artists in the world.

However, his artwork can be the leader in the Lebanese market because it can

not be compared to other artists even with the closest competitor, Gibran

Khalil Gibran, and so his work will be a good example for Lebanese people.

After market study and target group analysis, the kind of creative

strategy that will be used in this case of the ‘Senior Project’ will be

informative and educative since Dali’s case is new in the Lebanese market.

Thus, it is essential to inform people about Dali’s life and works. In addition,

this kind of target group is found in the most popular places, for example, high

schools, universities, and clubs. These places are the ones where advertising

messages are needed the most. In order to introduce Dali’s work to the target

audience, and raising an interest of his Surrealistic style that he has been best


known world wide there should be a concept related directly to his style but

from an innovative method. Therefore, posters are the best way to launch his

work in Lebanon.

Also, there will be a museum that establishes Dali’s work. Therefore,

the first step is to design the logo of the museum that will depend on Dali’s

name, while his name is a trade mark. This logo will be held on all other

advertising specialists, for example, stationary, invitation card, brochures, file,

promotion items, etc. According to the questionnaire and its results related to

tables previously presented a high rate who sometimes visiting art exhibitions

based on their educational art background; however, this background showed

at some places that it is irrelevant since many also have an interest in knowing

about the artist because the field of art is a matter of taste. Moreover, (100%)

of people with different educational levels are interested in observing his

artworks through an exhibition.

Of all the creative strategy and their achievement, one stands above all

the others. Bulletin Poster is a more educative message. This kind of creative

strategy will be held in the most popular places in Lebanese market, which are

universities, schools, restaurants, and even clubs. It will contain more

information about Dali’s artworks.

However, the major rule for attracting the target group in the creative

strategy is based on the basic design principles that are unity, harmony,

sequence, emphasis, contrast, and balance, where all the elements of creativity

are founded in an advertising message that will reach the Lebanese. Thus, the

aim of this research, which is to launch the artwork of Salvador Dali to the

Lebanese audience by considering the main objectives of the market study

accomplished with the target audience analysis, will reach its success.


6. Media Strategy Media is a new facility used for different issues. One of these issues is

the advertising of a product campaign or an idea, by creating an affective

message delivered to the target audience through media. Because of media, the

world has become smaller, where events (political, environmental, economic)

that happen in any region is known world wide. Moreover, this power of

media must be carefully handled and planed that a well-designed strategy must

be implemented when using the media.

Moreover, we need TV commercials, radio announcements, and

documentary film, which include some examples of his work or more details

concerning his personality to allow the public to know more about this artist.

The media is more popular for different kind of people to send an informative

message.

The most suitable TV channels for Dali’s case are LBCI and Future

because they are the most viewed channels and have the highest rate of

audience in Lebanon, and even in the Middle East. Additionally, they

broadcast internationally.

Schedule of the TV Advertising Campaign

TV Channel name Program name Time Spots / Week

LBCI Series 6pm – 7:30pm 4 spots

News 8pm – 8:30pm 3 spots

Future Alam El Sabah 9am – 12pm 2 spots

Movie 9:30pm – 11:30pm 5 spots Table 6

Since the target group in this case is based on adults and matures (18 &

above) who have interest in art, and even those who study design, the TV

commercial will be presented in LBCI channel through news time (3spots),


when most adults and matures are following the news and can see the TV

commercial. Moreover, the TV commercial will be presented during the series

time (4spots) before news time, where most adults are following it. The other

channel is Future, where spots will be shown during morning program - Alam

El Sabah - (2 spots) for a viewer of many interesting subjects including art;

this program is revealed to mature generation. In addition, the commercial will

be presented after news time that is during movies time (5 spots), where most

adults are popular by movies.

Schedule of the Radio Advertising Campaign

Radio Name Duration Ann. / day Time

Sawt El Ghad 30” 10 ann. 8am – 10am

5pm – 7pm

Radio One 30” 10 ann. 5pm – 7pm

Table 7

Radio is another good medium. Radio scripts of Dali’s artworks will be

based on ‘Free your mind’ and ‘Live your dream.’ Radio script will be

announced on the most two popular channels Sawt El Ghad and Radio One.

The time of announcements will be held from (7am -9am) in the morning time

at Sawt El Ghad, when most of the audience go to work in their cars, and some

are attending their universities in the morning. The afternoon from (5pm-

7pm); the drive time, when the audience like to listen to music; however, the

announcements will be held at two radio channels (Sawt El Ghad & Radio

one), while every radio channel should announce the script 10 times per day.

Advertisement in a specialized magazine, for example, Zahret El

Khaleage magazine, and Snob magazine. While Zahret El Khaleage magazine

also specifies pages for art; moreover, it has high audiences of adults and


matures because of different subjects both of them are interested in. In

addition, Snob magazine, issued by Future TV, is useful since most adults buy

such a magazine, for it has many special articles that fully developed

audiences have curiosity to know about, like sex, art, and even sociable

articles. In both magazines, the advertisement will be held in the front page of

each one. By this way the ad is going to be easily shown even to those who

will not buy any of these issues.

Billboard will be very important in this case of campaign. It will be a

kind of teasing campaign to attract the target group, and it will be distributed

mainly in Beirut and major villages like Zahle, Tripoli, etc. Also, even beside

the most popular places which are going to be easy to see by most Lebanese

people and especially by the target audiences that this study is depending on.

Moreover, billboards will be held in the main highways where most of the

tourists coming from the Arab countries pass.


7. Budget Dali’s artworks advertising campaign launched in the Lebanese market

is in the pioneer stage which is important to specify the budget that is

identified through the media cost.

However, the cost of advertising campaign for 2 months is as follows:

Cost of TV Commercials

• LBCI

During news time (3 spots)

$3000 * 3 spots/week * 8 weeks = $72,000

During series time (4 spots)

$2000 * 4 spots/week * 8 weeks = $64,000

• Future

During morning program-Alam El Sabah- (5 spots)

$1000 * 5 spots/week * 8 weeks = $40,000

During movies time (2 spots)

$3000 * 2 spots/week * 8 weeks = $48,000

Cost of Radio Announcements

• Sawt El Ghad

10 announcements (30”) / day

$36 * 10 ann. * 60 days = $21,600

• Radio One

10 announcements (30”) / day

$25 * 10 ann. * 60 days = $15,000


Cost of Magazine Advertisement

• Snoub Magazine

Issued / month, front page.

$1500 * 1 issue / month * 2 months = $3000

• Zahret El Khaleage

Issued / month, front page.

$2000 * 1 issue / month * 2 months = $3000

Cost of Billboard

• There will be 500 billboard distributed in all popular places.

$50 * 500 billboard / week * 8 weeks = $200,000

Total Costs will be

Total=Cost of TV + Cost of Radio + Cost of Magazine + Cost of Billboard

= $224,000 + $36,600 + $6000 + $200,000

Total Budget = $466,000


8. Evaluation As it is realized, Salvador Dali (1904- 1989), is a sculptor, graphic

artist, and designer at the same time who explored his psyche and dreams in

his artwork. After passing through phases of cubism, futurism and

metaphysical painting, surrealism became the world of dreams and

unconscious that were determined to explore the inner world of the psycho,

the realm of fantasy and the unconscious - and his talent for self-publicity

rapidly made him the most famous representative of the movement.

The study of this research aimed to launch the artwork of Salvador Dali

in a private Lebanese museum and introduce his work to different kinds of

audiences who might have the interest to appreciate them.

Related to the Lebanese market, Dali's style is new to the target

audience. At this stage there is an obstacle concerning his unknown style to

the Lebanese which they might not understand or like such kind of art.

However, a good research about Salvador Dali by comparing his

specifications to those artworks where Lebanese is used to see and already

know was a good base to start testing if this specific artwork weird of its kind

will find an interest in the Lebanese market. Therefore, it was important to

define the kind of campaign which is to be place in the introductory or pioneer

stage because most of his artworks are new in comparison to the style of the

Lebanese artists. Thus, the kind of advertising message that was defined to be

used later in the campaign of the ‘Senior Project’ will be of informative and

educative.

The obstacle mentioned above turned to be an opportunity after the test

that has been done on the audience. It became estimated from the

questionnaire’s results and analysis about Dali’s artwork that there is high

percentage that have curiosity to know about something new or other vague

subjects and even interested to observe his work through an exhibition.


Therefore, it became reasonable to introduce Salvador Dali to the Lebanese

market through planning for a new creative strategy of an advertising

campaign matching his style and objectives.

Finally and according to the study, this report should achieve a

successful advertising campaign since the market study, target group analysis

and the creative strategy are all parallel as much as they should meet the main

objectives of this study.

Salvador Dali Appendix 1

George Orwell (Eric Arthur Blair)

Dickens, Dali & Others: Studies in Popular Culture

Reynal & Hitchcock; New York, 1946

“Benefit of Clergy: Some Notes on Salvador Dali”

Autobiography is only to be trusted when it reveals something disgraceful. A man who gives a

good account of himself is probably lying, since any life when viewed from the inside is simply

a series of defeats. However, even the most flagrantly dishonest book (Frank Harris’s

autobiographical writings are an example) can without intending it give a true picture of its

author. Dali’s recently published Life [The Secret Life of Salvador Dali (The Dial Press, 1942)]

comes under this heading. Some of the incidents in it are flatly incredible, others have been

rearranged and romanticized, and not merely the humiliation but the persistent ordinariness of

everyday life has been cut out. Dali is even by his own diagnosis narcissistic, and his

autobiography is simply a strip-tease act conducted in pink limelight. But as a record of fantasy,

of the perversion of instinct that has been made possible by the machine age, it has great value.

Here, then, are some of the episodes in Dali’s life, from his earliest years onward. Which of

them are true and which are imaginary hardly matters: the point is that this is the kind of thing

that Dali would have liked to do.

When he is six years old there is some excitement over the appearance of Halley’s Comet:

Suddenly one of my father’s office clerks appeared in the drawing-room

doorway and announced that the comet could be seen from the terrace....

While crossing the hall I caught sight of my little three-year-old sister

crawling unobtrusively through a doorway. I stopped, hesitated a second,

then gave her a terrible kick in the head as though it had been a ball, and

continued running, carried away with a ‘delirious joy’ induced by this savage

act. But my father, who was behind me, caught me and led me down in to his

office, where I remained as a punishment till dinner-time.”

A year earlier than this Dali had “suddenly, as most of my ideas occur,” flung another little

boy off a suspension bridge. Several other incidents of the same kind are recorded, including

(this was when he was twenty-nine years old) knocking down and trampling on a girl “until they

had to tear her, bleeding, out of my reach.”

When he is about five he gets hold of a wounded bat which he puts into a tin pail. Next

morning he finds that the bat is almost dead and is covered with ants which are devouring it. He

puts it in his mouth, ants and all, and bites it almost in half.


When he is an adolescent a girl falls desperately in love with him. He kisses and caresses her

so as to excite her as much as possible, but refuses to go further. He resolves to keep this up for

five years (he calls it his “five-year plan”); enjoying her humiliation and the sense of power it

gives him. He frequently tells her that at the end of the five years he will desert her, and when

the time comes he does so.

Till well into adult life he keeps up the practice of masturbation, and likes to do this,

apparently, in front of a looking-glass. For ordinary purposes he is impotent, it appears, till the

age of thirty or so. When he first meets his future wife Gala, he is greatly tempted to push her off

a precipice. He is aware that there is something that she wants him to do to her and after their

first kiss the confession is made:

I threw back Gala’s head, pulling it by the hair, and trembling with complete

hysteria, I commanded: “Now tell me what you want me to do with you! But

tell me slowly; looking me in the eye, with the crudest, the most ferociously

erotic words that can make both of us feel the greatest shame!” Then Gala,

transforming the last glimmer of her expression of pleasure into the hard

light of her own tyranny, answered: “I want you to kill me!”

He is somewhat disappointed by this demand, since it is merely what he wanted to do

already. He contemplates throwing her off the bell-tower of the Cathedral of Toledo, but refrains

from doing so.

During the Spanish Civil War he astutely avoids taking sides, and makes a trip to Italy. He

feels himself more and more drawn towards the aristocracy, frequents smart salons, finds

himself wealthy patrons, and is photographed with the plump Vicomte de Noailles, whom he

describes as his “Maecenas.” When the European War approaches he has one preoccupation

only: how to find a place which has good cookery and from which he can make a quick bolt if

danger comes too near. He fixes on Bordeaux, and duly flees to Spain during the Battle of

France. He stays in Spain long enough to pick up a few anti-red atrocity stories, then makes for

America. The story ends in a blaze of respectability. Dali, at thirty-seven, has become a devoted

husband, is cured of his aberrations, or some of them, and is completely reconciled to the

Catholic Church. He is also, one gathers, making a good deal of money.

However, he has by no means ceased to take pride in the pictures of his Surrealist period, with

titles like “The Great Masturbator,” “Sodomy of a Skull with a Grand Piano,” etc. There are

reproductions of these all the way through the book. Many of Dali’s drawings are simply

representational and have a characteristic to be noted later. But from his Surrealist paintings and

photographs the two things that stand out are sexual perversity and necrophilia. Sexual objects


and symbols - some of them well known, like our old friend the high-heeled slipper, others, like

the crutch and the cup of warm milk, patented by Dali himself - recur over and over again, and

there is a fairly well-marked excretory motif as well. In his painting, Le Jeu Lugubre, he says,

“the drawers bespattered with excrement were painted with such minute and realistic

complacency that the whole little Surrealist group was anguished by the question: Is he co

prophetic or not?” Dali adds firmly that he is not, and that he regards this aberration as

“repulsive,” but it seems to be only at that point that his interest in excrement stops. Even when

he recounts the experience of watching a woman urinate standing up, he has to add the detail that

she misses her aim and dirties her shoes. It is not given to any one person to have all the vices,

and Dali also boasts that he is not homosexual, but otherwise he seems to have as good an outfit

of perversions as anyone could wish for.

However, his most notable characteristic is his necrophilia. He himself freely admits to this,

and claims to have been cured of it. Dead faces, skulls, corpses of animals occur fairly

frequently in his pictures, and the ants which devoured the dying bat make countless

reappearance. One photograph shows an exhumed corpse, far gone in decomposition. Another

shows the dead donkeys putrefying on top of grand pianos which formed part of the Surrealist

film, Le Chien Andalou. Dali still looks back on these donkeys with great enthusiasm.

I ‘made up’ the putrefaction of the donkeys with great pots of sticky glue

which I poured over them. Also I emptied their eye-sockets and made them

larger by hacking them out with scissors. In the same way I furiously cut

their mouths open to make the rows of their teeth show to better advantage,

and I added several jaws to each mouth, so that it would appear that although

the donkeys were already rotting they were vomiting up a little more their

own death, above those other rows of teeth formed by the keys of the black

pianos.

And finally there is the picture - apparently some kind of faked photograph - of “Mannequin

rotting in a taxicab.” Over the already somewhat bloated face and breast of the apparently dead

girl, huge snails were crawling. In the caption below the picture Dali notes that these are

Burgundy snails - that is, the edible kind.

Of course, in this long book of 400 quarto pages there is more than I have indicated, but I do

not think that I have given an unfair account of his moral atmosphere and mental scenery. It is a

book that stinks. If it were possible for a book to give a physical stink off its pages, this one

would - a thought that might please Dali, who before wooing his future wife for the first time

rubbed him all over with an ointment made of goat’s dung boiled up in fish glue. But against this


has to be set the fact that Dali is a draughtsman of very exceptional gifts. He is also, to judge by

the minuteness and the sureness of his drawings, a very hard worker. He is an exhibitionist and a

careerist, but he is not a fraud. He has fifty times more talent than most of the people who would

denounce his morals and jeer at his paintings. And these two sets of facts, taken together, raise a

question which for lack of any basis of agreement seldom gets a real discussion.

The point is that you have here a direct, unmistakable assault on sanity and decency; and even

- since some of Dali’s pictures would tend to poison the imagination like a pornographic

postcard - on life itself. What Dali has done and what he has imagined is debatable, but in his

outlook, his character, the bedrock decency of a human being does not exist. He is as anti-social

as a flea. Clearly, such people are undesirable, and a society in which they can flourish has

something wrong with it.

Now, if you showed this book, with its illustrations, to Lord Elton, to Mr. Alfred Noyes, to

The Times leader writers who exult over the “eclipse of the highbrow” - in fact, to any “sensible”

art-hating English person - it is easy to imagine what kind of response you would get. They

would flatly refuse to see any merit in Dali whatever. Such people are not only unable to admit

that what is morally degraded can be esthetically right, but their real demand of every artist is

that he shall pat them on the back and tell them that thought is unnecessary. And they can be

especially dangerous at a time like the present, when the Ministry of Information and the British

Council put power into their hands. For their impulse is not only to crush every new talent as it

appears, but to castrate the past as well. Witness the renewed highbrow-baiting that is now going

on in this country and America, with its outcry not only against Joyce, Proust and Lawrence, but

even against T. S. Eliot.

But if you talk to the kind of person who can see Dali’s merits, the response that you get is not

as a rule very much better. If you say that Dali, though a brilliant draughtsman, is a dirty little

scoundrel, you are looked upon as a savage. If you say that you don’t like rotting corpses, and

that people who do like rotting corpses are mentally diseased, it is assumed that you lack the

esthetic sense. Since “Mannequin rotting in a taxicab” is a good composition. And between these

two fallacies there is no middle position, but we seldom hear much about it. On the one side

Kulturbolschewismus: on the other (though the phrase itself is out of fashion) “Art for Art’s

sake.” Obscenity is a very difficult question to discuss honestly. People are too frightened either

of seeming to be shocked or of seeming not to be shocked, to be able to define the relationship

between art and morals.


It will be seen that what the defenders of Dali are claiming is a kind of benefit of clergy. The

artist is to be exempt from the moral laws that are binding on ordinary people. Just pronounce

the magic word “Art,” and everything is O.K.: kicking little girls in the head is O.K.; even a film

like L’Age d’Or is O.K. [Dali mentions L’Age d’Or and adds that its first public showing was

broken up by hooligans, but he does not say in detail what it was about. According to Henry

Miller’s account of it, it showed among other things some fairly detailed shots of a woman

defecating.] It is also O.K. that Dali should batten on France for years and then scuttle off like

rat as soon as France is in danger. So long as you can paint well enough to pass the test, all shall

be forgiven you.

One can see how false this is if one extends it to cover ordinary crime. In an age like our own,

when the artist is an altogether exceptional person, he must be allowed a certain amount of

irresponsibility, just as a pregnant woman is. Still, no one would say that a pregnant woman

should not be allowed to commit murder, nor would anyone make such a claim for the artist,

however gifted. If Shakespeare returned to the earth to-morrow, and if it were found that his

favorite recreation was raping little girls in railway carriages, we should not tell him to go ahead

with it on the ground that he might write another King Lear. And, after all, the worst crimes are

not always the punishable ones. By encouraging necrophilia reveries one probably does quite as

much harm as by, say, picking pockets at the races. One ought to be able to hold in one’s head

simultaneously the two facts that Dali is a good draughtsman and a disgusting human being. The

one does not invalidate or, in a sense, affect the other. The first thing that we demand of a wall is

that it shall stand up. If it stands up, it is a good wall, and the question of what purpose it serves

is separable from that. And yet even the best wall in the world deserves to be pulled down if it

surrounds a concentration camp. In the same way it should be possible to say, “This is a good

book or a good picture, and it ought to be burned by the public hangman.” Unless one can say

that, at least in imagination, one is shirking the implications of the fact that an artist is also a

citizen and a human being.

Not, of course, that Dali’s autobiography, or his pictures, ought to be suppressed. Short of the

dirty postcards that used to be sold in Mediterranean seaport towns, it is doubtful policy to

suppress anything, and Dali’s fantasies probably cast useful light on the decay of capitalist

civilization. But what he clearly needs is diagnosis. The question is not so much what he is as

why he is like that. It ought not to be in doubt that his is a diseased intelligence, probably not

much altered by his alleged conversion, since genuine penitents, or people who have returned to

sanity, do not flaunt their past vices in that complacent way. He is a symptom of the world’s

illness. The important thing is not to denounce him as a cad who ought to be horsewhipped, or to


defend him as a genius who ought not to be questioned, but to find out why he exhibits that

particular set of aberrations.

The answer is probably discoverable in his pictures, and those I myself am not competent to

examine. But I can point to one clue which perhaps takes one part of the distance. This is the

old-fashioned, over-ornate Edwardian style of drawing to which Dali tends to revert when he is

not being Surrealist. Some of Dali’s drawings are reminiscent of Dürer; one (p. 113) seems to

show the influence of Beardsley, another (p. 269) seems to borrow something from Blake. But

the most persistent strain is the Edwardian one. When I opened the book for the first time and

looked at its innumerable marginal illustrations, I was haunted by a resemblance which I could

not immediately pin down. I fetched up at the ornamental candlestick at the beginning of Part I

(p. 7). What did this remind me of? Finally I tracked it down. It reminded me of a large vulgar,

expensively got-up edition of Anatole France (in translation) which must have been published

about 1914. That had ornamental chapter headings and tailpieces after this style. Dali’s

candlestick displays at one end a curly fish-like creature that looks curiously familiar (it seems to

be based on the conventional dolphin), and at the other is the burning candle. This candle, which

recurs in one picture after another, is a very old friend. You will find it, with the same

picturesque gouts of wax arranged on its sides, in those phony electric lights done up as

candlesticks which are popular in sham-Tudor country hotels. This candle, and the design

beneath it, conveys at once an intense feeling of sentimentality. As though to counteract this,

Dali has spattered a quill-full of ink all over the page, but without avail. The same impression

keeps popping up on page after page. The sign at the bottom of page 62, for instance, would

nearly go into Peter Pan. The figure on page 224, in spite of having her cranium elongated in to

an immense sausage-like shape, is the witch of the fairy-tale books. The horse on page 234 and

the unicorn on page 218 might be illustrations to James Branch Cabell. The rather basified

drawings of youths on pages 97, 100 and elsewhere convey the same impression. Picturesque

ness keeps breaking in. Take away the skulls, ants, lobsters, telephones and other paraphernalia,

and every now and again you are back in the world of Barrie, Rackham, Dunsany and Where the

Rainbow Ends.

Curiously, enough, some of the naughty-naughty touches in Dali’s autobiography tie up with

the same period. When I read the passage I quoted at the beginning, about the kicking of the

little sister’s head, I was aware of another phantom resemblance. What was it? Of course!

Ruthless Rhymes for Heartless Homes, by Harry Graham. Such rhymes were very popular round

about 1912, and one that ran:


Poor little Willy is crying so sore,

A sad little boy is he,

For he’s broken his little sister’s neck

And he’ll have no jam for tea,

Might almost have been founded on Dali’s anecdote. Dali, of course, is aware of his Edwardian

leanings, and makes capital out of them, more or less in a spirit of pastiche. He professes an

especial affection for the year 1900, and claims that every ornamental object of 1900 is full of

mystery, poetry, eroticism, madness, perversity, etc. Pastiche, however, usually implies a real

affection for the thing parodied. It seems to be, if not the rule, at any rate distinctly common for

an intellectual bent to be accompanied by a non-rational, even childish urge in the same

direction. A sculptor, for instance, is interested in planes and curves, but he is also a person who

enjoys the physical act of mucking about with clay or stone. An engineer is a person who enjoys

the feel of tools, the noise of dynamos and smell of oil. A psychiatrist usually has a leaning

toward some sexual aberration himself. Darwin became a biologist partly because he was a

country gentleman and fond of animals. It may be therefore, that Dali’s seemingly perverse cult

of Edwardian things (for example, his “discovery” of the 1900 subway entrances) is merely the

symptom of a much deeper, less conscious affection. The innumerable, beautifully executed

copies of textbook illustrations, solemnly labelled le rossignol, une montre and so on, which he

scatters all over his margins, may be meant partly as a joke. The little boy in knickerbockers

playing with a diabolic on page 103 is a perfect period piece. But perhaps these things are also

there because Dali can’t help drawing that kind of thing because it is to that period and that style

of drawing that he really belongs.

If so, his aberrations are partly explicable. Perhaps they are a way of assuring him that he is

not commonplace. The two qualities that Dali unquestionably possesses are a gift for drawing

and an atrocious egoism. “At seven,” he says in the first paragraph of his book, “I wanted to be

Napoleon. And my ambition has been growing steadily ever since.” This is worded in a

deliberately startling way, but no doubt it is substantially true. Such feelings are common

enough. “I knew I was a genius,” somebody once said to me, “long before I knew what I was

going to be a genius about.” And suppose that you have nothing in you except your egoism and

a dexterity that goes no higher than the elbow; suppose that your real gift is for a detailed,

academic, representational style of drawing, your real métier to be an illustrator of scientific

textbooks. How then do you become Napoleon?


There is always one escape: into wickedness. Always do the thing that will shock and wound

people. At five, throw a little boy off a bridge, strike an old doctor across the face with a whip

and break his spectacles - or, at any rate, dream about doing such things. Twenty years later,

gouge the eyes out of dead donkeys with a pair of scissors. Along those lines you can always

feel yourself original. And after all, it pays! It is much less dangerous than crime. Making all

allowance for the probable suppressions in Dali’s autobiography, it is clear that he had not had to

suffer for his eccentricities as he would have done in an earlier age. He grew up into the corrupt

world of the nineteen-twenties, when sophistication was immensely widespread and every

European capital swarmed with aristocrats and renters who had given up sport and politics and

taken to patronizing the arts. If you threw dead donkeys at people, they threw money back. A

phobia for grasshoppers - which a few decades back would merely have provoked a snigger -

was now an interesting “complex” which could be profitably exploited. And when that particular

world collapsed before the German Army, America was waiting. You could even top it all up

with religious conversion, moving at one hop and without a shadow of repentance from the

fashionable salons of Paris to Abraham’s bosom.

That perhaps is the essential outline of Dali’s history. But why his aberrations should be the

particular ones they were, and why it should be so easy to “sell” such horrors as rotting corpses

to a sophisticated public - those are questions for the psychologist and the sociological critic.

Marxist criticism has a short way with such phenomena as Surrealism. They are “bourgeois

decadence” (much play is made with the phrases “corpse poisons” and “decaying renters class”),

and that is that. But though this probably states a fact, it does not establish a connection. One

would still like to know why Dali’s leaning was towards necrophilia (and not, say,

homosexuality), and why the renter and the aristocrats would buy his pictures instead of hunting

and making love like their grandfathers. Mere moral disapproval does not get one any further.

But neither ought one to pretend, in the name of “detachment,” that such pictures as “Mannequin

rotting in a taxicab” are morally neutral. They are diseased and disgusting, and any investigation

ought to start out from that fact.

1944


Quotations by Salvador Dali

• "P.Halsman: Dali, what makes you tick?

Dali: My hairspring, of course."

• "P.Halsman: Dali, why do you wear a mustache?

Dali: In order to pass unobserved."

• "P.Halsman: Dali, what is surrealism?

Dali: Surrealism is I."

• "At the age of six I wanted to be a cook. At seven I wanted to be Napoleon. And my

ambition has been growing steadily ever since."

• "Democratic societies are unfit for the publication of such thunderous revelations as I

am in the habit of making."

• "Don't bother about being modern. Unfortunately it is the one thing that, whatever you

do, you cannot avoid."

• "Drawing is the honesty of the art. There is no possibility of cheating. It is either good or

bad."

• "God invented man, and man invented the metric system."

• "Have no fear of perfection -- you'll never reach it."

• "I believe that the moment is near when, by a procedure of active paranoiac thought, it

will be possible to systematize confusion and contribute to the total discrediting of the

world of reality."

• "I do not paint a portrait to look like the subject; rather does the person grow to look like

his portrait."

• "I don't take drugs: I am drugs."

• "I have Dalinian thought: the one thing the world will never have enough of is the

outrageous."


• "In order to acquire a growing and lasting respect in society, it is a good thing, if you

possess great talent, to give, early in your youth, a very hard kick to the right shin of the

society that you love. After that, be a snob."

• "Instead of stubbornly attempting to use surrealism for purposes of subversion, it is

necessary to try to make of surrealism something as solid, complete and classic as the

works of museums."

• "Intelligence without ambition is a bird without wings."

• "It is either easy or impossible."

• "It is good taste, and good taste alone, that possesses the power to sterilize and is always

the first handicap to any creative functioning."

• "It is not necessary for the public to know whether I am joking or whether I am serious,

just as it is not necessary for me to know it myself."

• "Let my enemies devour each other."

• "Liking money like I like it, is nothing less than mysticism - Money is a glory."

• "Mistakes are almost always of a sacred nature. Never try to correct them. On the

contrary: rationalize them, understand them thoroughly. After that, it will be possible for

you to sublimate them."

• "Painting is an infinitely minute part of my personality."

• "Paranoiac-critical activity makes the world of delirium pass onto the plane of reality..."

• "So little of what could happen does happen."

• "The difference between false memories and true ones is the same as for jewels: it is

always the false ones that look the most real, the most brilliant."

• "The first man to compare the cheeks of a young woman to a rose was obviously a poet

the first to repeat it was possibly an idiot."

• "The only difference between me and a madman is that I am not mad!"


• "The only thing that the world will not have enough of is exaggeration."

• "The reason that some portraits don't look true to life is that some people make no effort

to resemble their pictures."

• "The secret of my influence has always been that it remained secret."

• "The terrifying and edible beauty of Art Nouveau architecture."

• "The thermometer of success is merely the jealousy of the malcontents."

• "The world will admire me. Perhaps I'll be despised and misunderstood, but I'll be a

great genius, I'm certain of it."

• "There are some days when I think I'm going to die from an overdose of satisfaction."

• "Those who do not want to imitate anything, produce nothing."

• "To gaze is to think."

• "Wars have never hurt anybody except the people who die."

• "We are all hungry and thirsty for concrete images. Abstract art will have been good for

one thing: to restore its exact virginity to figurative art."

• "What is a television apparatus to man, who has only to shut his eyes to see the most

inaccessible regions of the seen and the never seen . . . to pierce through walls and cause

all the planetary Baghdad's of his dreams to rise from the dust."

• "When I was five years old I saw an insect that had been eaten by ants and of which

nothing remained except the shell. Through the holes in its anatomy one could see the

sky. Every time I wish to attain purity I look at the sky through flesh."


Extract from the Prophet

1. Gibran on Friendship...

And a youth said, "Speak to us of Friendship."

Your friend is your needs answered.

He is your field which you sow with love and reap with thanksgiving.

And he is your board and your fireside.

For you come to him with your hunger, and you seek him for peace.

When your friend speaks his mind you fear not the "nay" in your own mind, nor do you withhold

the "ay."

And when he is silent your heart ceases not to listen to his heart;

For without words, in friendship, all thoughts, all desires, all expectations are born and shared,

with joy that is unclaimed.

When you part from your friend, you grieve not;

For that which you love most in him may be clearer in his absence, as the mountain to the

climber is clearer from the plain.

And let there be no purpose in friendship save the deepening of the spirit.

For love that seeks aught but the disclosure of its own mystery is not love but a net cast forth:

and only the unprofitable is caught.

And let your best be for your friend.

If he must know the ebb of your tide, let him know its flood also.

For what is your friend that you should seek him with hours to kill?

Seek him always with hours to live.

For it is his to fill your need, but not your emptiness.

And in the sweetness of friendship let there be laughter, and sharing of pleasures.

For in the dew of little things the heart finds its morning and is refreshed.


2. Gibran on Love...

Then said Elmira, "Speak to us of Love."

And he raised his head and looked upon the people, and there fell stillness upon them. And with

a great voice he said:

When love beckons to you follow him,

Though his ways are hard and steep.

And when his wings enfold you yield to him,

Though the sword hidden among his pinions may wound you.

And when he speaks to you believe in him,

Though his voice may shatter your dreams as the north wind lays waste the garden.

For even as love crowns you so shall he crucify you. Even as he is for your growth so is he for

your pruning.

Even as he ascends to your height and caresses your tender’s branches that quiver in the sun,

So shall he descend to your roots and shake them in their clinging to the earth.

Like sheaves of corn he gathers you unto himself.

He threshes you to make you naked.

He sifts you to free you from your husks.

He grinds you to whiteness.

He kneads you until you are pliant;

And then he assigns you to his sacred fire, that you may become sacred bread for God's sacred

feast.

All these things shall love do unto you that you may know the secrets of your heart, and in that

knowledge become a fragment of Life's heart.

But if in your fear you would seek only love's peace and love's pleasure,

Then it is better for you that you cover your nakedness and pass out of love's threshing-floor,

Into the reasonless world where you shall laugh, but not all of your laughter, and weep, but not

all of your tears.

Love gives naught but itself and takes naught but from itself.

Love possesses not nor would it be possessed;

For love is sufficient unto love.

When you love you should not say, "God is in my heart," but rather, I am in the heart of God."

And think not you can direct the course of love, if it finds you worthy, directs your course.

Love has no other desire but to fulfill itself.

But if you love and must needs have desires, let these be your desires:


To melt and be like a running brook that sings its melody to the night.

To know the pain of too much tenderness.

To be wounded by your own understanding of love;

And to bleed willingly and joyfully.

To wake at dawn with a winged heart and give thanks for another day of loving;

To rest at the noon hour and meditate love's ecstasy;

To return home at eventide with gratitude;

And then to sleep with a prayer for the beloved in your heart and a song of praise upon your lips.

3. Gibran on Marriage...

Then Elmira spoke again and said, "And what of Marriage, master?"

And he answered saying:

You were born together, and together you shall be forevermore.

You shall be together when white wings of death scatter your days.

Aye, you shall be together even in the silent memory of God.

But let there be spaces in your togetherness,

And let the winds of the heavens dance between you.

Love one another but make not a bond of love:

Let it rather be a moving sea between the shores of your souls.

Fill each other's cup but drink not from one cup.

Give one another of your bread but eat not from the same loaf.

Sing and dance together and be joyous, but let each one of you be alone,

Even as the strings of a lute are alone though they quiver with the same music.

Give your hearts, but not into each other's keeping.

For only the hand of Life can contain your hearts.

And stand together, yet not too near together:

For the pillars of the temple stand apart,

And the oak tree and the cypress grow not in each other's shadow.

4. Gibran on Children...

And a woman who held a babe against her bosom said, "Speak to us of Children."

And he said:

Your children are not your children.

They are the sons and daughters of Life's longing for itself.


They come through you but not from you,

And though they are with you, yet they belong not to you.

You may give them your love but not your thoughts.

For they have their own thoughts.

You may house their bodies but not their souls,

For their souls dwell in the house of tomorrow, which you cannot visit, not even in your dreams.

You may strive to be like them, but seek not to make them like you.

For life goes not backward nor tarries with yesterday.

You are the bows from which your children as living arrows are sent forth.

The archer sees the mark upon the path of the infinite, and He bends you with His might that His

arrows may go swift and far.

Let your bending in the archer's hand be for gladness;

For even as he loves the arrow that flies, so He loves also the bow that is stable.

5. Giving

Then said a rich man, "Speak to us of Giving."

And he answered:

You give but little when you give of your possessions.

It is when you give of yourself that you truly give.

For what are your possessions but things you keep and guard for fear you may need them

tomorrow?

And tomorrow, what shall tomorrow bring to the over prudent dog burying bones in the trackless

sand as he follows the pilgrims to the holy city?

And what is fear of need but need itself?

Is not dread of thirst when your well is full, thirst that is unquenchable?

There are those who give little of the much which they have - and they give it for recognition

and their hidden desire makes their gifts unwholesome.

And there are those who have little and give it all.

These are the believers in life and the bounty of life, and their coffer is never empty.

There are those who give with joy, and that joy is their reward.

And there are those who give with pain, and that pain is their baptism.

And there are those who give and know not pain in giving, nor do they seek joy, nor give with

mindfulness of virtue;

They give as in yonder valley the myrtle breathes its fragrance into space.


Though the hands of such as these God speaks, and from behind their eyes He smiles upon the

earth.

It is well to give when asked, but it is better to give unasked, through understanding;

And to the open-handed the search for one who shall receive is joy greater than giving

And is there aught you would withhold?

All you have shall some day be given;

Therefore give now, that the season of giving may be yours and not your inheritors'.

You often say, "I would give, but only to the deserving."

The trees in your orchard say not so, nor the flocks in your pasture.

They give that they may live, for to withhold is to perish.

Surely he who is worthy to receive his days and his nights is worthy of all else from you.

And he who has deserved to drink from the ocean of life deserves to fill his cup from your little

stream.

And what desert greater shall there be than that which lies in the courage and the confidence, nay

the charity, of receiving?

And who are you that men should rend their bosom and unveil their pride, that you may see their

worth naked and their pride unabashed?

See first that you yourself deserve to be a giver, and an instrument of giving.

For in truth it is life that gives unto life - while you, who deem yourself a giver, are but a

witness.

And you receivers - and you are all receivers - assume no weight of gratitude, lest you lay a yoke

upon yourself and upon him who gives.

Rather rise together with the giver on his gifts as on wings;

For to be over mindful of your debt, is to doubt his generosity who has the free-hearted earth for

mother, and God for father.

6. Work

Then a ploughman said, "Speak to us of Work."

And he answered, saying:

You work that you may keep pace with the earth and the soul of the earth.

For to be idle is to become a stranger unto the seasons, and to step out of life's procession, that

marches in majesty and proud submission towards the infinite.

When you work you are a flute through whose heart the whispering of the hours turns to music.

Which of you would be a reed, dumb and silent, when all else sings together in unison?


Always you have been told that work is a curse and labor a misfortune.

But I say to you that when you work you fulfill a part of earth's furthest dream, assigned to you

when that dream was born,

And in keeping yourself with labor you are in truth loving life,

And to love life through labor is to be intimate with life's inmost secret.

But if you in your pain call birth an affliction and the support of the flesh a curse written upon

your brow, then I answer that naught but the sweat of your brow shall wash away that which is

written.

You have been told also life is darkness, and in your weariness you echo what was said by the

weary.

And I say that life is indeed darkness save when there is urge,

And all urge is blind save when there is knowledge,

And all knowledge is vain save when there is work,

And all work is empty save when there is love;

And when you work with love you bind yourself to yourself, and to one another, and to God.

And what is it to work with love?

It is to weave the cloth with threads drawn from your heart, even as if your beloved were to wear

that cloth.

It is to build a house with affection, even as if your beloved were to dwell in that house.

It is to sow seeds with tenderness and reap the harvest with joy, even as if your beloved were to

eat the fruit.

It is to charge all things you fashion with a breath of your own spirit,

And to know that all the blessed dead are standing about you and watching.

Often have I heard you say, as if speaking in sleep, "he who works in marble, and finds the

shape of his own soul in the stone, is a nobler than he who ploughs the soil.

And he who seizes the rainbow to lay it on a cloth in the likeness of man, is more than he who

makes the sandals for our feet."

But I say, not in sleep but in the over-wakefulness of noontide, that the wind speaks not more

sweetly to the giant oaks than to the least of all the blades of grass;

And he alone is great who turns the voice of the wind into a song made sweeter by his own

loving.

Work is love made visible.

And if you cannot work with love but only with distaste, it is better that you should leave your

work and sit at the gate of the temple and take alms of those who work with joy.


For if you bake bread with indifference, you bake a bitter bread that feeds but half man's hunger.

And if you grudge the crushing of the grapes, your grudge distils a poison in the wine.

And if you sing though as angels, and love not the singing, you muffle man's ears to the voices

of the day and the voices of the night.

7. Freedom

And an orator said, "Speak to us of Freedom."

And he answered:

At the city gate and by your fireside I have seen you prostrate yourself and worship your own

freedom,

Even as slaves humble themselves before a tyrant and praise him though he slays them.

Ay, in the grove of the temple and in the shadow of the citadel I have seen the freest among you

wear their freedom as a yoke and a handcuff.

And my heart bled within me; for you can only be free when even the desire of seeking freedom

becomes a harness to you, and when you cease to speak of freedom as a goal and a fulfillment.

You shall be free indeed when your days are not without a care nor your nights without a want

and a grief,

But rather when these things girdle your life and yet you rise above them naked and unbound.

And how shall you rise beyond your days and nights unless you break the chains which you at

the dawn of your understanding have fastened around your noon hour?

In truth that which you call freedom is the strongest of these chains, though its links glitter in the

sun and dazzle the eyes.

And what is it but fragments of your own self you would discard that you may become free?

If it is an unjust law you would abolish, that law was written with your own hand upon your own

forehead.

You cannot erase it by burning your law books nor by washing the foreheads of your judges,

though you pour the sea upon them.

And if it is a despot you would dethrone, see first that his throne erected within you is destroyed.

For how can a tyrant rule the free and the proud, but for a tyranny in their own freedom and a

shame in their won pride?

And if it is a care you would cast off, that care has been chosen by you rather than imposed upon

you.

And if it is a fear you would dispel, the seat of that fear is in your heart and not in the hand of the

feared.


8. Religion

And an old priest said, "Speak to us of Religion."

And he said:

Have I spoken this day of aught else?

Is not religion all deeds and all reflection,

And that which is neither deed nor reflection, but a wonder and a surprise ever springing in the

soul, even while the hands hew the stone or tend the loom?

Who can separate his faith from his actions, or his belief from his occupations?

Who can spread his hours before him, saying, "This for God and this for myself; This for my

soul, and this other for my body?"

All your hours are wings that beat through space from self to self.

He who wears his morality but as his best garment were better naked.

The wind and the sun will tear no holes in his skin.

And he who defines his conduct by ethics imprisons his song-bird in a cage.

The freest song comes not through bars and wires.

And he to whom worshipping is a window, to open but also to shut, has not yet visited the house

of his soul whose windows are from dawn to dawn.

Your daily life is your temple and your religion.

Whenever you enter into it take with you your all.

Take the plough and the forge and the mallet and the lute,

The things you have fashioned in necessity or for delight.

For in revelry you cannot rise above your achievements nor fall lower than your failures.

And take with you all men:

For in adoration you cannot fly higher than their hopes nor humble yourself lower than their

despair.

And if you would know God be not therefore a solver of riddles.

Rather look about you and you shall see Him playing with your children.

And look into space; you shall see Him walking in the cloud, outstretching His arms in the

lightning and descending in rain.

You shall see Him smiling in flowers, then rising and waving His hands in trees.


Salvador Dali Modern Artist

Target Group Analysis

Questionnaire Age

18-25

25-30

30 & above Province:_______________

Religion:_______________

Education

Art

Science

Literature Salvador Dali(1904-1989), is a Spanish painter, sculptor, graphic artist, and designer who explored his psyche and dreams in his artwork. After passing through phases of cubism, futurism and metaphysical painting, he joined the surrealists in 1929 - the world of dreams and unconscious that were determined to explore the inner world of the psycho, the realm of fantasy and the unconscious - and his talent for self-publicity rapidly made him the most famous representative of the movement. 1-Do you visit any art exhibitions?

always

regularly

sometimes 2-To what level are you interested on Modern Art?

interested

not interested 3-Do you have interest to know about famous artists?

interested

not interested 4-Have you heard about Salvador Dali?

yes

no Note: If your answer is "no" skip question "5"


5-From where did you know about Salvador Dali? _______________ 6-Do you like to observe his artwork through an exhibition?

interested

not interested Comments:___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________


Bibliography

1. Books

a. Russell, T. 2002, Kleppner’s Advertising, 15th Edition, Printice

Hall, New Jersey, USA

b. Terpftra, V., Sarathy, R. 2000, International Marketing, 8th

Edition, Harcourt Collage Publisher, New York, USA

c. Kotler, P. 1997, Marketing An Advertising, 4th Edition, Printice

Hall International, New Jersey, USA

2. Web Site

a. Gala-Salvador Dali Foundation, 2003, The Museum, the official

web site of Gala-Salvador Dali Foundation, www.salvador-

dali.org/eng.htm

b. Dali Figures Museum, 2003, An Adolescent Genius, by Gifreu ed.

Cliff, www.perso.wanadoo.fr/art-deco.france/dalieng.htm

c. Salvador Dali Gallery, 2003, The Surrealism, the official web site

of Salvador Dali Gallery, www.dali-gallery.com

d. Salvador Dali Gallery, 2003, Salvador Dali Biography, the

official web site of Salvador Dali Gallery, www.dali-gallery.com

e. 3D Dali, 2003, Newsletter, the great web site presented Dali by

famous persons, www.3d-dali.com

f. Lebanese Art, 2003, Famous Artists Biography, the official web

site of Lebanese art, www.lebaneseart.com

3. Lecture

a. Karam, G. 2003, Senior Proposal Strategy, Notes, Fall semester

lecture, AUST, Zahle Campus

salvador dali - marketing and advertising study

Documents