| 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 50
4.750,00$Precio
It comes from the Gospel of John 19:38, which describes the moment after Jesus' death on the cross. The body of Jesus is taken down, prepared for burial, and laid in a tomb. This marks the transition from the sacrifice of the cross to the burial, preceding the resurrection.
John 19:38 (KJV):
"And after this Joseph of Arimathaea, being a disciple of Jesus, but secretly for fear of the Jews, besought Pilate that he might take away the body of Jesus: and Pilate gave him leave. He came therefore, and took the body of Jesus."
Dalí’s Interpretation in Sacra Biblia
Dalí’s surrealist interpretation would blend the spiritual paradox of Jesus’ death and resurrection with his signature surrealism. The fragile body of Jesus would likely be shown in ethereal forms, while the cross might be distorted to reflect its transformation from a symbol of death to one of salvation. Dalí’s manipulation of time and space would express the timeless significance of the burial, while the interplay of light and darkness would highlight the hope of resurrection. The tension between grief and hope would be represented through distorted figures and surreal symbols of life, suggesting that death is not the end, but the beginning of eternal life.