©Salvador Dali - Portrait of Frau. Isabel Styler-Tas 1945

Portrait of Frau. Isabel Styler-Tas 1945
Portrait of Frau. Isabel Styler-Tas
1945 65x86cm oil/canvas
Nationalgalerie, Berlin

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From The Guardian:
Dalí's society portraiture has always been held against him, and this is a typically egregious example of surrealist hackery. Dalí realised in the 1940s that commissioned portraiture was a good way to cash in on his fame. His dabblings in advertising, cinema, fashion and theme-park design, along with the respectability conferred by his 1941 retrospective at New York's Museum of Modern Art, made him the modern European artist with brand recognition. He made himself available to clients, throwing in surrealist gags and dreamscapes in portraits of the likes of Helena Rubinstein and, here, Isabel Styler-Tas.
And yet you can't help liking this picture. Dalí can hardly be accused of flattery. Styler-Tas is cold as ice under her huge fur hat. Her face is unbeautiful. The mirror image shows her profile magically formed in the rocky crags of a hill; the road going up into her "head" leads nowhere, except to a crack that lets in empty sky. The hill that is her is rocky, harsh, eyeless and, under its cosmetic vegetation, dead.
The staggering thing is not how "cynical" this painting is, but how much hard work went into it. There's a mad intensity to Dalí that makes it hard to speak of him as shallow. In his opulent yet lonely life, there was nothing except art.