Salvador Dalí (1904-1989) is one of the most famous and popular artists of the

twentieth century.  Until recently, however, most critics and art historians considered only a small portion of his prolific output — that executed between 1929 and 1939, when he was in direct contact with the Paris Surrealists — to

be worthy of serious study.  Over the past decade, there has been a revitalization of interest in Dalí's art and writing of the 1940s through the

1980s, though that "renaissance" has concerned chiefly his paintings — his 1950s "Nuclear Mysticism," his 1960s proto-Pop Art paintings, and his 1970s

experiments with optical illusions — and, to a lesser extent, his films.  His enormous body of limited-edition graphic suites, in contrast, continues to

await proper reassessment.  The Exhibit, Aliyah, The Rebirth of Israel (1968), organized as part of the dedicatory year for the Marcus Hillel Center of Emory University, leads that effort, buttressing the growing critical awareness and appreciation of Dalí's later work through its reconsideration of what is surely

one of the artist's most visually appealing — and historically significant — graphic commissions.

  

Dr. Elliott H. KingGuest Curator, "Dalí: The Late Work," High Museum of Art, Atlanta, 2010

 In April 1968, for the 20th anniversary of the State of Israel, a special issue

of Hadassah Magazine was published. It caught the excitement of Dali's new work entitled "Aliyah, The Rebirth of Israel" as follows:

An epic history of the return of the Jewish people to their homeland — expressed in 25 bold, dramatic, yet sensitive drawings, sketches and water-

color paintings by the surrealist master, Salvador Dali — will shortly be added of the art treasure of Israel and museums and collectors throughout the world.

Appropriately titled "Aliyah, The Rebirth of Israel," the series of paintings captures the spirit of the Jews from the first days of the exile and for nearly 2,000 years in the diaspora until their final return to their cherished soil of Israel. Embracing a wide spectrum of moods, from gaiety to deep drama to stark tragedy, it culminates in the ultimate triumph of justice and the joyous

restoration of the nation.

David R. BlumenthalJay and Leslie Cohen Professor of Judaic Studies

Emory University, Atlanta, GA

Introductory Image

Exile and Hope

The Wailing Wall

"For it is thy life and the length of thy days" (Deuteronomy 30:20) 

"Return, O virgin of Israel. Return to these, thy cities" (Jeremiah 31:20)

"We shall go up at once and possess it" (Numbers 13:30)

"Let them have dominion over the fish of the sea and

over the fowl of the air and over the cattle and over every creeping thing" (Genesis

1:26)

The Pioneers of Israel: "With one of

his hands, he wrought the work

and, with the other, held his weapon" (Nehemiah 4:11)

On the Shores of Freedom: The Eliahu

Golomb brings "illegal"

immigrants

"Arise, Barak, and lead thy captives

into captivity; thou, son of Abinoam"

(Judges 5:12)

The Land at the Start of Jewish

Settlement: "I will make the

wilderness a pool of water" (Isaiah

41:18) 

The Land Come to Life: "The

mountains and the hills shall break forth before you

into singing and all the trees of the

field shall clap their hands" (Isaiah

55:12)

The Land of Milk and Honey

Out of the Depths 

"Thou hast laid me in the

nethermost pit, in dark places, in the deeps" (Psalms 88:7)

"Yea though I walk through the

valley of the shadow of death, I

will fear no evil" (Psalms 23:4)

"I have set before thee life and death, the blessing and the

curse; therefore, choose life that

thou mayest live, thou and thy seed"

(Deuteronomy 30:19)

David Ben Gurion reads the

Declaration of IndependenceMay 5, 1948

Hatikvah (Hope), the Israeli

National Anthem 

Orah, Horah: Light, Joy

Angels of Rebirth

The Battle of the Jerusalem Hills

Victory: A Song of Thanksgiving

The Price -- Bereavement 

The Final ImageCovenant Eternal: Circumcision