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In 1937, Salvador Dali wrote to his dear friend Andre Breton, founder of the surrealist art movement in Paris, and said, “I have come to America and I am in contact with three great American surrealists – the Marx Brothers, Cecil B. DeMille, and Walt Disney.” Breton envisioned Surrealism as an art form that would draw its content from the unexplored realm of the subconscious human mind, ferreting out unparalleled honesty and otherworldly images that would turn the world’s concept of art on its head. In such total abandon, Breton and others believed the world would find absolute freedom.

By the 1930s, Surrealism, a stepchild of Dadaism (anti-art), had exploded into the vanguard art scene in Europe with artists such as Man Ray, Max Ernst, Rene Magritte, Wassily Kandinski, Miro and Salvador Dali. Soon, Surrealist influence began to stretch across the Atlantic sea into the United States, where artists Andre Masson, Marcel Duchamp and Arshile Gorky had already emigrated by the mid 1920s. But to many, America's first great surrealist artists were animation pioneers: Walt Disney, Max Fleischer, and Tex Avery.

Walt Disney found an unexpected artistic soul mate in Salvador Dali, who he may have met as early as 1937. “We have to keep breaking new trails,” Disney said at the time. “Ordinarily good story ideas don’t come easily and have to be fought for. Dali is communicative. He bubbles with ideas.”

At a dinner party held by movie mogul Jack Warner in 1945, the concept of collaboration between Disney and Dali began to evolve. Disney had been compiling short features for theatrical release. “Destino” was the name of a Mexican ballad that Disney had envisioned as a vehicle for a musical short film project. Dali was attracted to Destino’s title and the concept of destiny attracting two lovers. In late 1946, Dali began arriving at the Disney Studio every morning at eight-thirty and working until five at night. Twenty seconds of film, several paintings, various pen-and-ink drawings and many storyboards came out of this eight month period during which Dali was an employee of Walt Disney Studios. He hinted in his own newsletter, Dali News, that the collaborative film effort would “offer to the world the first vision of ‘psychological relief’.”

Then, destiny itself took over, and the project was put on hold by Disney in 1947 as a result of post-World War II changes and other studio commitments. In 1999, Roy Disney, Walt Disney’s nephew, became inspired to finish “Destino” after the release of “Fantasia 2000” – a film richly laden with outlandish, surrealistic imagery that was no doubt influenced in part by Surrealism.

Now fully realized and invigorated with the help of 3D computer technology, the new “Destino” project was kept as close as possible to the original vision laid out by Disney and Dali in 1946. Director Dominique Monfery and producer Baker Bloodworth utilized many traditional techniques of animated filmmaking as well as cutting-edge technology to emulate what they termed the “plastic quality” of Dali’s multi-dimensional imagery. Fifty-seven years later, the brainchild of Dali and Disney was finally born. “Destino” is, according to the curator of the Gala-Salvador Dali Foundation, “the perfect combination of Dali and Disney”.
Salvador Dali was a pioneer in the realm of printmaking in the twentieth century. All printing methods used by Collectors Editions in the publication of Destino artwork are the same ones used by Salvador Dali throughout his career, performed the same way, with Dali’s artistic vision and sensibilities kept firmly in mind.

Serigraphy, (“Seri”, the Latin word for silk, and the word “grapho”, a Greek term meaning “to write or draw”), was first recognized as a fine art medium in the late 1930s. Serigraphy utilizes a color stencil printing process, involving the direct transfer of an image when a squeegee is used to push ink through a screen onto a substrate. Each color requires a stencil. Using extreme pressure, the image is pressed onto paper. Passes or colors can range from 10 to 200 plus colors, depending on the complexity of the original that is being reproduced. Screen-printing is the most versatile type of printing process, and is still widely used today in creating and producing high quality representations of original artwork.

Serigraphy reached its heyday in the 1950s, when the studio of master printer Lutpold Domberger in Stuttgart, Germany, came to be favored by those on the cutting edge of the Op Art movement.
Domberger’s perfectionism was a perfect match for the artistic visions of Joseph Albers and Victor Vasarely. Jackson Pollack also utilized serigraphy, and the process was the elite method of choice for Andy Warhol, whose preoccupation with it brought the medium to new levels of legitimacy.

Stone lithography is one of the most prestigious traditions in the history of printmaking artistry. Pioneered in 1796 by Aloys Senefelder, the process is a highly skilled combination of a careful chemical mix and the masterful application of the image in a greasy medium to the face ofthe printing stone. Masters such as Goya, Delacroix, Manet, Degas, Toulouse-Lautrec, Picasso, Daumier, Degas, Whistler, Rauschenburg, Johns and Dali were all captivated by this process of “stone writing”. Color lithography became exceedingly popular in the late 1890s at the hands of French advertising poster pioneer Jules Cheret. Working with artists like Henri de Toulouse-Latrec, Cheret utilized the streets of Paris as his own outdoor art gallery, papering them with hundreds of beautifully colored lithographs and advertisements. Stone lithography was most popular during the first World War and used for most of the Hollywood movie posters of the 1920s. Because it requires the skill of a vanishing breed of expert craftsmen, it is rarely used today.
Perfected by Rembrandt, the etching process was originally developed over 300 years ago using copper plates and wax. It is a time-consuming, hand-worked process, with the finished product being hand pulled and embellished by hand. Each etching is a work of art in and of itself, a creation of the combined efforts of the original artist’s vision and the skilled mastery of the craftsman whose job it is to make that supreme vision a reality. Today, etchings are still printed individually by hand, just as they were originally, using copper plates. The polished surface of the plate is coated with liquid asphaltum and allowed to dry. The drawing is scratched through the asphaltum with a needle exposing the metal, which is then immersed in a nitric acid solution, which "etches" the scratched lines into the plate. When the plate and paper are rolled between the steel rollers of the press under extreme pressure, the paper is embossed over the plate and the ink is transferred from the plate to the paper. The plate must be re-inked by hand and wiped for each etching printed. When the edition is completed, the plate is "cancelled" by being defaced and is retired in the artist's archives. Dali is known for utilizing etching as a medium for printing throughout his career.
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