Salvador Dali (1904 - 1989), Mount Gerion (Hands of Antaeus) - "Divine Comedy" Canto XVI Inferno

Lithograph, dimensions: 53 cm x 40 cm in light passe - partout of 70 x 54 cm, limited edition of 500 pieces, Arches velin paper, each print is individually numbered in pencil l.d.: 80/500, dry stamp - Certified Dali Dalart NV, Copyright 1981 l.d; original certificate,
Salvador Dali's composition known under the title "Mount Gerion" or "Hands of Anteus" was created as part of a series of
works inspired by Dante Alighieri's "Divine Comedy." Dali in 1951 was commissioned by the Italian government to
to create 100 illustrations depicting the various hellish, purgatorial and heavenly visions described in that epic.
"Mount Gerion" refers to one of the passages from Inferno - Canto XVI of "Inferno."
In song 16, Dante and Virgil descend toward the eighth circle of Hell, where they encounter the evil giant
Gerion, a creature of fearsome appearance - he has a human torso, but the lower part of his body is a snake with a barbed
tail. His job is to transport souls through the abysses of hell. This figure symbolizes deception and
deception.
Key in this composition is the motif of "hands" supporting two figures, which probably symbolize
Dante and Virgil. Dali used the motif of hands that surround the figures in a disturbing but protective way,
giving them an almost divine power. These large hands symbolize the power and monumentality of Antaeus, while also
providing protection and support for Dante and Virgil on their journey through the infernal circles.
Antaeus(Greek: Antaios, Latin: Antaeus) was a figure in Greek mythology, known primarily as a giant and son of the god
Poseidon of the sea and the goddess of the Earth Gaia. His most important characteristic was his extraordinary strength, which he derived from his contact with the
Earth - his mother, Gaia. Every time he touched the earth, his power was renewed, making him virtually
invincible in battle, until he faced Heracles (Hercules).
Antaeus symbolizes the invincible power that comes from contact with nature and the earth, but is also a metaphor for the fact that every
power has its limitations and can be overcome when one knows its source.
In the context of Dante's "Divine Comedy," Antaeus appears in the circle of giants in hell (Circle Nine), who
have been condemned for their hubris. Antaeus helps Dante and Virgil by transferring them to a lower circle of hell,
which reflects his mythological physical strength.
Dali's style combines mystical and abstract elements, as well as a deliberate deformation of reality. In this illustration
he captures not only the essence of Dante's "Inferno," but also his characteristic sense of surrealism. It is a
perfect example of how Dali combined literary symbolism with his own surreal visions.
Salvador Dali's illustrations to Dante Alighieri's "Divine Comedy" have won both acclaim and sparked
controversy internationally. The project was intended to commemorate the 700th anniversary of Dante's birth and
was initially commissioned by the Italian government in 1950. The decision to have Dali, a Spanish surrealist,
illustrate a work considered the foundation of Italian literature, was met with mixed reactions.
Due to the controversy, the Italian government eventually backed out of the project. Nevertheless, Dali continued to work on the
illustrations, which were eventually published by a French publishing house. Despite the initial controversy, over
time, Dali's illustrations began to be appreciated for their uniqueness and bold interpretation. Dali created 100 watercolors, one
one for each song from "The Divine Comedy," which show not only the content of the poem, but also Dali's surreal vision of the
Dali's world.
Dali's illustrations have been exhibited in many prestigious exhibitions around the world, including art museums in the
United States, Europe and Asia. Over time, they have become some of his best-known graphic works.
With his surrealist approach to such a classic work as "The Divine Comedy," Dali entered the tradition of
of reinterpretation of canonical literary works by modern artists. Today, his illustrations to the "Divine
Comedy" are seen as a unique work of art that successfully combines the classics with modernity and
innovation.