Ace of Diamonds

Name/Title

Ace of Diamonds

Entry/Object ID

1996.23.04.01

Type of Print

Lithograph

Artwork Details

Medium

Paper, ink

Acquisition

Accession

1996.23

Source or Donor

Reese Palley, Marilyn Arnold Palley

Acquisition Method

Gift

Credit Line

Gift of Reese and Marilyn Arnold Palley

Made/Created

Artist

Salvador Dalí

Manufacturer

Rigal

Date made

1972

Time Period

20th Century

Place

* Untyped Place

Paris, France

Edition

Edition

Playing Card Suite

Edition Size

150 on Arches and 250 on un-watermarked paper. Unknown number of proofs on Japon paper..

Edition Number

32

Inscription/Signature/Marks

Type

Print number and run

Location

lower left below plate

Transcription

32/150

Material/Technique

Pencil, Written

Type

Signature

Location

lower right below plate

Translation

Dali

Material/Technique

Pencil, Written

Type

Watermark

Location

left side outside plate

Transcription

Arches

Notes

Arches paper

Lexicon

Nomenclature 4.0

Nomenclature Tertiary Object Term

Lithograph

Nomenclature Secondary Object Term

Print, Planographic

Nomenclature Primary Object Term

Print

Nomenclature Sub-Class

Graphic Documents

Nomenclature Class

Documentary Objects

Nomenclature Category

Category 08: Communication Objects

Dimensions

Height

14-1/4 in

Width

9-1/4 in

Provenance

Notes

Reese Palley (1922-2015) New York {1}; donated to Purdue University Galleries in 1996 Palley Inc. commissioned the publication of the suite

Exhibition

25: A Selection Works from Purdue Galleries’ Permanent Collection (2024)

Interpretative Labels

Label Type

Cultural/Historical Context

Label

" ""The difference between a madman and me,"" Dali is often quoted as saying, ""is that l am not mad."" Indeed he was not, for largely through his own skillful self-promotion, Dali remains one of the most familiar names in the annals of 20th century art. Best known as the most exotic and eccentric proponent of the Surrealist movement, Dali created through what he termed ""paranoic-critical activity,"" which he described as a ""spontaneous method of irrational knowledge based on the critical and systematic objectification of delirious associations and interpretations."" The Surrealists repudiated Dali for various reasons, such as his interest in Nazism and his tendency towards self-glorification. ""Dali insinuated himself into the Surrealist movement in 1929,"" according to their leader,,André Breton, and . . he proceeded thereafter by a series of borrowings and juxtapositions."" Nevertheless Dali's work epitomizes the mixture of dream-state and reality that characterizes the Surrealist movement. "