Evolution of Salvador Dalí's Randomdot Paintings
Elements >
Background >

"At the end of these last five years, in which I have read so many books on science which, not only have I not understood, but also, almost always, so as not to say always, I have understood the exact opposite."

Salvador Dalí, "Últimes conclusions del meu llibre titulat 'Dimenison I color de Déu'", Destino (Barcelona), no. 2193, 17-23 October 1979.
Quoted in: Dawn Ades and Michael R. Taylor, Curators, Dalí (New York: Rizzoli, 2004), 537.
____________________________

Note: The connection between John Merritt's dot patterns and the Dalí paintings shown on this page was discovered by art historian and Dalí scholar Elliott H. King, PhD. Click here to learn more about Elliott's research and professional activities.

From:

Bela Julesz, Foundations of Cyclopean Perception (Chicago: University of Chicago Press, 1971), 244.

John O. Merritt

Merritt dot patterns placed side-by-side

with Julesz captions

(italics added)

 7.4-3 One image of a single random-dot correlogram for testing eidetic imagery. If an eidetic image can be formed (after inspecting this figure with both eyes for a few minutes) and then superimposed on figure 7.4-4, a hidden figure should become apparent. (Courtesy John Merritt, Harvard University.) 7.4-4 Other image of random-dot correlogram for testing eidetic imagery. (Courtesy John Merritt, Harvard University.)

Dali's first randomdot studies (1977)

Dalí mistakenly thought the two patterns were intended to be viewed stereoscopically

(Note Catalan word "dreta" in upper left corner of right component)

Click on each image to see larger version

Randomdot Correlogram - Le Toison d'Or (The Golden Fleece)

Left (esquerre) component

Randomdot Correlogram - Le Toison d'Or (The Golden Fleece)

Right (dreta) component

1978: Study for The Harmony of the Spheres

and

The Harmony of the Spheres

Click on each image to see larger version

To see Dali at work in his studio on The Harmony of the Spheres, click here


1979: The Golden Goat of the Castle of Quermançó

Oil on board,
234 cm x 140 cm
(~7.5 ft x 4.5 ft)

Click on image to see larger high-res version

For an analysis of elements in this painting, click here

For its history and background, click here





Compare dot patterns to
Julesz, page 244, shown at right

Note: Dali left out one dot in the leftmost pattern



          


Other Dalí Paintings Influenced by the Work of Bela Julesz

Bela Julesz, Foundations of Cyclopean Perception (Chicago: University of Chicago Press, 1971).

D. L. Harmon & Bela Julesz, "The recognition of faces," Scientific American, 1973, 229(5): –82. 
See: http://www.michaelbach.de/ot/fcs_mosaic/

Gala Contemplating the Mediterranean Sea, which at 30 meters becomes the portrait of Abraham Lincoln - Homage to Rothko (first version, 1974-75)

Click on image to see larger version.
Gala Contemplating the Mediterranean Sea, which at 30 meters becomes the portrait of Abraham Lincoln - Homage to Rothko (second version, 1976)

Click on image to see larger version.

Cybernetic ODalísque - Homage to Bela Julesz (1978)

Click on image to see larger version.

Copyright © 2015 Patricia A. Billingsley