| The Biblia Sacra was published in 1969 by Rizzoli of Rome. - SIGNATURE : printed in the image - SIZE : 19 x 13 3/4" or 48.26x34.93cm - REFERENCES : Michler and Lopsinger 1600, Field 69-3 - CONDITION : Excellent. New. Original. This is an illustrated book of the Bible in Vulgate. The Biblia Sacra was published in 1969 by Rizzoli of Rome. The lithographs are on a heavy paper and are signed in the plate. The Biblia Sacra lithographs were produced as illustrations for a new edition of the Bible. The Biblia Sacra suite consists of 105 color mixed-technique lithographs after 105 watercolor paintings created by Dali between 1963 and 1964. The Biblia Sacra works are a combination of offset lithography, continuous tone lithography, serigraphy (silkscreening) with application of varnishes and metallic inks. The works were “printed” on a heavy stock designed specifically to hold up to the various techniques used. Quality craftsmanship and artistry are evident in every Biblia Sacra work. The unique combination of multiple printing techniques gives these illustrations a richness and depth that resulted in works that are exceptionally true to the original paintings. Creator: Salvador Dalí (1904 - 1989, Spanish) |
Sagrada Biblia 48
4.750,00$Precio
It is from the Gospel of John 19:15, but it also appears in the other Gospels. This statement is made by the crowd, urging Pontius Pilate to condemn Jesus to death by crucifixion. It marks the moment when the crowd, after hearing Pilate's declaration of Jesus’ innocence, demands that Jesus be crucified.
John 19:15 (KJV):
"But they cried out, Away with him, away with him, crucify him. Pilate saith unto them, Shall I crucify your King? The chief priests answered, We have no king but Caesar."
Dalí’s Interpretation in Sacra Biblia
Dalí’s interpretation would likely focus on the tragic irony of the crowd’s demand for Jesus’ crucifixion. He would use his signature surrealist techniques to express the moral and spiritual blindness of the crowd and the inner turmoil of Pilate. Distorted figures, fragmented bodies, and surreal symbolism would emphasize the spiritual consequences of rejecting the Messiah. The cross would likely be a central symbol, portrayed as an inevitable force that emerges from the chaos of the crowd’s rejection. The light and darkness would visually separate divine innocence from human evil, underscoring the tragic irony of the moment.