The Persistence of Memory (1931). Dali has said that eating Camembert cheese inspired the limp watches: 'Be persuaded that Salvador Dali's famous limp watches are nothing else than the tender, extravagant and solitary paranoiac-critical Camembert of time and space.' This image was to make its appearance in many subsequent works.

Mae West's Face which may be Used as a Surrealist Apartment (1934-36). The furnishings of a room are transformed into a portrait of mae West. The soft lips were to become a sofa object for Edward James.

Sleep (1937). Dali saw sleep as a monster supported by crutches.

Shirley Temple (1939). Dali's montage of Shirley Temple crouched as a monstrous sphinx in the desert.

The Visage of War (1940).

Ruin with Head of Medusa and Landscape (1941).

Dream Caused by the Flight of a Bee Around a Pomegranite - One Second Before Awakening (1944).

Leda Atomica (1949). The classical fable of the nymph Leda, possessed by Jupiter transformed into a swan, is seen here in the light of nuclear physics. The elements of the picture, like the structure of the atom, gravitate around one another without touching or forming a compact or solid body. The placement of the objects in space was apparently based on guidance to Dali by scientist Matila Ghyka. (Converted to stereo, parallel view.)

Raphaelesque head bursting (1951).

Galatea of the Spheres (1952).

The Disintegration of Persistence of Memory (1952-54). The ochre colored plain of the ground, has been divided up into cubic shaped blocks, and the addition of the rhinocerous horns in the upper lefthand portion of the painting also refer to Dali's fascination with the molecular world. The melting watch es and landscape of Cadaques make another appearance herein, and the addition of the fish serves as a witness to the event.

Young Virgin Autosodomized by Her Own Chastity (1954). Playboy Collection, Los Angeles. The title of this painting correlates well with this painting. Although the title is a bit bold - that right there speaks for itself about the artist. As you can see by looking at the painting a woman is leaning over a rail with horned shaped objects being pointed at her. One of these angles happens to be from what one might call a "raping" position. Other objects are painted on her back side forming the shape of her rear. This takes away form the gruesome act of her being sodomized. This clears up the autosodomized question of the title, but where exactly does chastity play it's role within the artwork? Could the horns maybe be symbolic? Or are they horns at all? According to Robert Radford in his book Dali, these "menacing" forms that take on the role of sodomizing the woman are indeed horns. In fact Radford states they are rhinoceros horns. Now what role could a rhinoceros have within this painting? He is a very forceful animal and can be very dangerous, but yet a rhino does not attack unless he is provoked first. Could this mean that the woman within the picture has asked for her own punishment holding on to her chastity?

Dali's Hand Drawing Back the Golden Fleece in the Form of a Cloud to Show Gala the Dawn, Completely Nude, Very Very Far Away Behind the Sun (stereoscopic) (1977).

Memory (1994). This painting, an interpretation of Salvador Dali's "Persistence of Memory" (1931), illustrates the ghastly beauty of the broken affairs of this world. We see a landscape. The table is set, with a foot walking tip-toe on the water; the ants have arrived. Time is flowing into what vast ocean? A barren tree is performing a novelty acts with spinning plates; one is about to fall. Obscene passion rises from the rolling hills. On the horizon, the rock of Gibraltar appears as a vegetative brain. Feelings of separation cause the world to appear blue.