THE HIGH MUSEUM OF ART, ATLANTA, WILL CONTINUE ITS COLLABORATION WITH THE MUSEUM OF MODERN ART (MOMA), NEW YORK, WITH THE EXCLUSIVE PRESENTATION OF THE MAJOR EXHIBITION 'PICASSO TO WARHOL: TWELVE MODERN MASTERS' BEGINNING IN OCTOBER 2011. THE EXHIBITION WILL PRESENT APPROXIMATELY 100 WORKS OF ART CREATED BY 12 OF THE MOST ICONIC ARTISTS FROM THE 20th CENTURY; PABLO PICASSO, HENRI MATISSE, CONSTANTIN BRANCUSI, PIET MONDRIAN, FERNAND LEGER, MARCEL DUCHAMP, GIORGIO DE CHIRICO, JOAN MIRO, ALEXANDER CALDER, JACKSON POLLOCK, JASPER JOHNS AND ANDY WARHOL. 'PICASSO TO WARHOL ' WILL BE ONE OF THE LARGEST CONCENTRATIONS OF MODERN ART MASTERPIECES TO EVER BE EXHIBITED IN THE SOUTHEASTERN UNITED STATES. CO-ORGANIZED BY THE HIGH MUSEUM OF ART AND MOMA, THE EXHIBITION WILL BE ON VIEW ONLY IN ATLANTA FROM 15.OCTOBER THROUGH 29.APRIL.2012.

HIGH MUSEUM OF ART TO PRESENT 'PICASSO TO WARHOL: TWELVE MODERN MASTERS'

THE HIGH MUSEUM OF ART, ATLANTA, WILL CONTINUE ITS COLLABORATION WITH THE MUSEUM OF MODERN ART (MOMA), NEW YORK, WITH THE EXCLUSIVE PRESENTATION OF THE MAJOR EXHIBITION 'PICASSO TO WARHOL: TWELVE MODERN MASTERS' BEGINNING IN OCTOBER 2011. THE EXHIBITION WILL PRESENT APPROXIMATELY 100 WORKS OF ART CREATED BY 12 OF THE MOST ICONIC ARTISTS FROM THE 20th CENTURY; PABLO PICASSO, HENRI MATISSE, CONSTANTIN BRANCUSI, PIET MONDRIAN, FERNAND LEGER, MARCEL DUCHAMP, GIORGIO DE CHIRICO, JOAN MIRO, ALEXANDER CALDER, JACKSON POLLOCK, JASPER JOHNS AND ANDY WARHOL. 'PICASSO TO WARHOL ' WILL BE ONE OF THE LARGEST CONCENTRATIONS OF MODERN ART MASTERPIECES TO EVER BE EXHIBITED IN THE SOUTHEASTERN UNITED STATES. CO-ORGANIZED BY THE HIGH MUSEUM OF ART AND MOMA, THE EXHIBITION WILL BE ON VIEW ONLY IN ATLANTA FROM 15.OCTOBER THROUGH 29.APRIL.2012.

HIGH MUSEUM OF ART TO PRESENT 'PICASSO TO WARHOL: TWELVE MODERN MASTERS'

MURALS OF SLAVES HARVESTING SUGAR CANE ON A GEORGIA PLANTATION AND PICKING AND GINNING COTTON ARE COMING OFF THE WALLS OF A STATE BUILDING ON THE ORDER OF A NEW AGRICULTURE COMMISSIONER. THE MURALS ARE PART OF A COLLECTION OF EIGHT WORKS PAINTED BY GEORGE BEATTIE IN 1956 DEPICTING AN IDEALIZED VERSION OF GEORGIA FARMING, FROM THE CORN GROWN BY PREHISTORIC AMERICAN INDIANS TO A 20th CENTURY VETERINARY LAB. IN THE DEEP SOUTH, THE HISTORY IN BETWEEN INCLUDES THE FORCED USE OF SLAVE LABOR. 'I DON'T LIKE THOSE PAINTINGS', SAID REPUBLICAN GARY BLACK, THE NEWLY ELECTED AGRICULTURE COMMISSIONER. 'THERE ARE A LOT OF OTHER PEOPLE WHO DON'T LIKE THEM.' SLAVERY WAS INDISPUTABLY PART OF 19th CENTURY FARMING IN GEORGIA. BY 1840, MORE THAN 280,000 SLAVES WERE LIVING IN THE STATE, MANY AS FIELD HANDS. JUST BEFORE THE CIVIL WAR, SLAVES MADE UP ABOUT 40% OF THE STATE'S POPULATION. BEATTIE'S MURALS TELL PART OF THE STORY. IN ONE PAINTING, TWO WELL-DRESSED WHITE GENTLEMEN IN TOP HATS AND DRESS COATS LEISURELY INSPECT PROCESSED COTTON. THEY'RE FRAMED ON EITHER SIDE BY BLACK SLAVES DOING THE WORK OF COTTON FARMING. ON THE LEFT, A SLAVE HUNCHES OVER TO PICK COTTON BALLS BY HAND. TWO OTHER SLAVES ARE USING THE INFAMOUS WHITNEY GIN, INVENTED NEAR SAVANNAH, TO SEPARATE COTTON FIBER FROM SEEDS AS A WHITE OVERSEER WEIGHS COTTON BAGS BEHIND THEM. 'I THINK WE CAN DEPICT A BETTER PICTURE OF AGRICULTURE', BLACK SAID. BLACK SAID LESS CONTROVERSIAL MURALS, A SCENE AT A STATE FARMERS MARKET, FOR EXAMPLE, MAY FIND A NEW HOME IN A CONFERENCE ROOM OR ELSEWHERE IN THE BUILDING. FEW HAVE OPENLY PROTESTED THE MURALS, MAYBE BECAUSE THE AGRICULTURE DEPARTMENT IS NOT HEAVILY VISITED. A FULL CENTURY AFTER THE CIVIL WAS, SOUTHERNERS STILL ARGUE OVER HOW TO HANDLE POTENT SYMBOLS OF SLAVERY AND SEGREGATION IN PUBLIC PLACE. IT'S NOTHING NEW. THE SAME YEAR BEATTIE FINISHED THE MURALS, STATE LAWMAKERS PUT THE CONFEDERATE BATTLE FLAG BACK INTO GEORGIA'S STATE FLAG TO PROTEST INTEGRATION. ONLY IN 2001 DID GOV ROY BARNES REPLACE IT, AND SOME SAY IT COST HIM THE ELECTION THE FOLLOWING YEAR. IN 1995, TWO YEARS BEFORE HE DIED, BEATTIE DEFENDED HIS MURALS IN A DEPARTMENT-SPONSORED ARTICLE THAT MENTIONED THE ART HAD SPURRED DEBATE AND CONCERN AMONG VISITORS AND EMPLOYEES. 'AS A HUMAN BEING, I AM VEHEMENTLY OPPOSED TO SLAVERY, AS ANYONE SHOULD BE', BEATTIE SAID, 'BUT IT WAS A SIGNIFICANT EPOCH IN OUR HISTORY; IT WOULD HAVE BEEN INACCURATE NOT TO INCLUDE THIS PERIOD.'

CONTROVERSIAL MURALS DEPICTING SLAVERY TO BE REMOVED

MURALS OF SLAVES HARVESTING SUGAR CANE ON A GEORGIA PLANTATION AND PICKING AND GINNING COTTON ARE COMING OFF THE WALLS OF A STATE BUILDING ON THE ORDER OF A NEW AGRICULTURE COMMISSIONER. THE MURALS ARE PART OF A COLLECTION OF EIGHT WORKS PAINTED BY GEORGE BEATTIE IN 1956 DEPICTING AN IDEALIZED VERSION OF GEORGIA FARMING, FROM THE CORN GROWN BY PREHISTORIC AMERICAN INDIANS TO A 20th CENTURY VETERINARY LAB. IN THE DEEP SOUTH, THE HISTORY IN BETWEEN INCLUDES THE FORCED USE OF SLAVE LABOR. 'I DON'T LIKE THOSE PAINTINGS', SAID REPUBLICAN GARY BLACK, THE NEWLY ELECTED AGRICULTURE COMMISSIONER. 'THERE ARE A LOT OF OTHER PEOPLE WHO DON'T LIKE THEM.' SLAVERY WAS INDISPUTABLY PART OF 19th CENTURY FARMING IN GEORGIA. BY 1840, MORE THAN 280,000 SLAVES WERE LIVING IN THE STATE, MANY AS FIELD HANDS. JUST BEFORE THE CIVIL WAR, SLAVES MADE UP ABOUT 40% OF THE STATE'S POPULATION. BEATTIE'S MURALS TELL PART OF THE STORY. IN ONE PAINTING, TWO WELL-DRESSED WHITE GENTLEMEN IN TOP HATS AND DRESS COATS LEISURELY INSPECT PROCESSED COTTON. THEY'RE FRAMED ON EITHER SIDE BY BLACK SLAVES DOING THE WORK OF COTTON FARMING. ON THE LEFT, A SLAVE HUNCHES OVER TO PICK COTTON BALLS BY HAND. TWO OTHER SLAVES ARE USING THE INFAMOUS WHITNEY GIN, INVENTED NEAR SAVANNAH, TO SEPARATE COTTON FIBER FROM SEEDS AS A WHITE OVERSEER WEIGHS COTTON BAGS BEHIND THEM. 'I THINK WE CAN DEPICT A BETTER PICTURE OF AGRICULTURE', BLACK SAID. BLACK SAID LESS CONTROVERSIAL MURALS, A SCENE AT A STATE FARMERS MARKET, FOR EXAMPLE, MAY FIND A NEW HOME IN A CONFERENCE ROOM OR ELSEWHERE IN THE BUILDING. FEW HAVE OPENLY PROTESTED THE MURALS, MAYBE BECAUSE THE AGRICULTURE DEPARTMENT IS NOT HEAVILY VISITED. A FULL CENTURY AFTER THE CIVIL WAS, SOUTHERNERS STILL ARGUE OVER HOW TO HANDLE POTENT SYMBOLS OF SLAVERY AND SEGREGATION IN PUBLIC PLACE. IT'S NOTHING NEW. THE SAME YEAR BEATTIE FINISHED THE MURALS, STATE LAWMAKERS PUT THE CONFEDERATE BATTLE FLAG BACK INTO GEORGIA'S STATE FLAG TO PROTEST INTEGRATION. ONLY IN 2001 DID GOV ROY BARNES REPLACE IT, AND SOME SAY IT COST HIM THE ELECTION THE FOLLOWING YEAR. IN 1995, TWO YEARS BEFORE HE DIED, BEATTIE DEFENDED HIS MURALS IN A DEPARTMENT-SPONSORED ARTICLE THAT MENTIONED THE ART HAD SPURRED DEBATE AND CONCERN AMONG VISITORS AND EMPLOYEES. 'AS A HUMAN BEING, I AM VEHEMENTLY OPPOSED TO SLAVERY, AS ANYONE SHOULD BE', BEATTIE SAID, 'BUT IT WAS A SIGNIFICANT EPOCH IN OUR HISTORY; IT WOULD HAVE BEEN INACCURATE NOT TO INCLUDE THIS PERIOD.'

CONTROVERSIAL MURALS DEPICTING SLAVERY TO BE REMOVED

THE HIGH MUSEUM OF ART, ATLANTA, TODAY ANNOUNCED THAT IT HAS RECEIVED A MAJOR GIFT OF 90 PAINTINGS AND SCULPTURES FROM THE ATLANTA-BASED WEST FOUNDATION'S 19tH CENTURY AMERICAN COLLECTION. THE DONATED WORKS INCLUDE 49 PAINTINGS AND 41 SCULPTURES, ESTABLISHING THE HIGH AS A MAJOR RESOURCE FOR 19th CENTURY AMERICAN ART. THE GIFT ENRICHES THE HIGH'S COLLECTION OF AMERICAN ART WITH IMPORTANT WORKS INCLUDING LANDSCAPES BY FREDERIC EDWIN CHURCH AND JASPER CROPSEY, PORTRAITS BY REMBRANDT PEALE AND WILLIAM SYDNEY MOUNT, AND SCULPTURES BY HIRAM POWERS AND CHAUNCEY BRADLEY IVES. BEGINNING 29.OCTOBER, THE NEWLY-ACQUIRED PAINTINGS AND SCULPTURES WILL BE ON VIEW WITHIN THE PERMANENT COLLECTION GALLERIES ON THE SECOND AND THIRD FLOORS OF THE STENT FAMILY WING. THE WEST FOUNDATION'S GIFT OF NEO-CLASSICAL SCULPTURES CONSISTS OF 41 MARBLE, PLASTER AND BRONZE WORKS. THE MAJORITY OF THE WORKS ARE LARGE SCALE, NEO-CLASSICAL MARBLES EXECUTED BETWEEN 1838 AND 1887, INCLUDING MAJOR WORKS BY WILLIAM WETMORE STORY, HIRAM POWERS, EDMONIA LEWIS, HARRIET HOMER, THOMAS BALL, RANDOLPH ROGERS AND THOMAS CRAWFORD. THE GIFT INCLUDES ICONIC OBJECTS THAT REPRESENT THE CHIEF D'OEUVRE OF AN ARTIST'S PRODUCTION, SUCH AS HIRAM POWERS' 'PROSERPINE', RANDOLPH ROGERS' 'NYDIA THE BLIND FLOWER GIRL OF POMPEII', AND HARRIET HOSMER'S 'THE SLEEPING FAUN'. FOUR HUDSON RIVER SCHOOL PAINTINGS WERE GIVEN IN HONOUR OF HIGH MUSEUM OF ART DIRECTOR EMERITUS GUDMUND VIGTEL. VIGTEL, DIRECTOR OF THE HIGH FROM 1963 TO 1991, WAS INSTRUMENTAL IN ESTABLISHING THE MUSEUM'S AMERICAN COLLECTION AND SERVED AS AN ADVISOR FOR THE WEST FOUNDATION COLLECTION. IN ADDITION TO THE FOUR HUDSON RIVER SCHOOL PAINTINGS, 45 OTHER PAINTINGS WERE ALSO GIVEN IN HONOUR OF VIGTEL. THE COLLECTION FEATURES 24 LANDSCAPES, NINE GENRE PAINTINGS, EIGHT FIGURE AND PORTRAIT PAINTINGS, AND FOUR STILL LIFE PAINTINGS. ALL BUT THREE WERE EXECUTED BEFORE 1900, WITH THE STRONGEST CONCENTRATION OF WORKS PAINTED BEFORE 1880.

HIGH MUSEUM OF ART RECEIVES GIFT OF 90 WORKS OF ART

THE HIGH MUSEUM OF ART, ATLANTA, TODAY ANNOUNCED THAT IT HAS RECEIVED A MAJOR GIFT OF 90 PAINTINGS AND SCULPTURES FROM THE ATLANTA-BASED WEST FOUNDATION'S 19tH CENTURY AMERICAN COLLECTION. THE DONATED WORKS INCLUDE 49 PAINTINGS AND 41 SCULPTURES, ESTABLISHING THE HIGH AS A MAJOR RESOURCE FOR 19th CENTURY AMERICAN ART. THE GIFT ENRICHES THE HIGH'S COLLECTION OF AMERICAN ART WITH IMPORTANT WORKS INCLUDING LANDSCAPES BY FREDERIC EDWIN CHURCH AND JASPER CROPSEY, PORTRAITS BY REMBRANDT PEALE AND WILLIAM SYDNEY MOUNT, AND SCULPTURES BY HIRAM POWERS AND CHAUNCEY BRADLEY IVES. BEGINNING 29.OCTOBER, THE NEWLY-ACQUIRED PAINTINGS AND SCULPTURES WILL BE ON VIEW WITHIN THE PERMANENT COLLECTION GALLERIES ON THE SECOND AND THIRD FLOORS OF THE STENT FAMILY WING. THE WEST FOUNDATION'S GIFT OF NEO-CLASSICAL SCULPTURES CONSISTS OF 41 MARBLE, PLASTER AND BRONZE WORKS. THE MAJORITY OF THE WORKS ARE LARGE SCALE, NEO-CLASSICAL MARBLES EXECUTED BETWEEN 1838 AND 1887, INCLUDING MAJOR WORKS BY WILLIAM WETMORE STORY, HIRAM POWERS, EDMONIA LEWIS, HARRIET HOMER, THOMAS BALL, RANDOLPH ROGERS AND THOMAS CRAWFORD. THE GIFT INCLUDES ICONIC OBJECTS THAT REPRESENT THE CHIEF D'OEUVRE OF AN ARTIST'S PRODUCTION, SUCH AS HIRAM POWERS' 'PROSERPINE', RANDOLPH ROGERS' 'NYDIA THE BLIND FLOWER GIRL OF POMPEII', AND HARRIET HOSMER'S 'THE SLEEPING FAUN'. FOUR HUDSON RIVER SCHOOL PAINTINGS WERE GIVEN IN HONOUR OF HIGH MUSEUM OF ART DIRECTOR EMERITUS GUDMUND VIGTEL. VIGTEL, DIRECTOR OF THE HIGH FROM 1963 TO 1991, WAS INSTRUMENTAL IN ESTABLISHING THE MUSEUM'S AMERICAN COLLECTION AND SERVED AS AN ADVISOR FOR THE WEST FOUNDATION COLLECTION. IN ADDITION TO THE FOUR HUDSON RIVER SCHOOL PAINTINGS, 45 OTHER PAINTINGS WERE ALSO GIVEN IN HONOUR OF VIGTEL. THE COLLECTION FEATURES 24 LANDSCAPES, NINE GENRE PAINTINGS, EIGHT FIGURE AND PORTRAIT PAINTINGS, AND FOUR STILL LIFE PAINTINGS. ALL BUT THREE WERE EXECUTED BEFORE 1900, WITH THE STRONGEST CONCENTRATION OF WORKS PAINTED BEFORE 1880.

HIGH MUSEUM OF ART RECEIVES GIFT OF 90 WORKS OF ART

ONE OF THE WORLD'S PREMIER MUSCLE CAR COLLECTIONS WILL CROSS THE AUCTION BLOCK IN GEORGIA NEXT MONTH AS RM AUCTIONS PRESENTS THE MILTON ROBSON COLLECTION, A SINGLE-VENDOR SALE TO BE HELD IN GAINSVILLE, GEORGIA, 13.NOVEMBER. THE RESULT OF OVER 25 YEARS OF CAREFUL ACQUISITION BY LIFELONG 'CAR GUY' MILTON ROBSON, THE ROBSON COLLECTION FEATURES A REMARKABLE SERIES OF LOW-PRODUCTION AND ULTRA-HIGH SPECIFICATION DETROIT MUSCLE CARS, ALONG WITH A SERIES OF ICONIC FIFTIES AND SIXTIES CLASSICS, AND A SUPERB SELECTION OF HENRY FORD'S ORIGINAL FLATBED V8s. A TOTAL OF 55 VEHICLES FROM THE COLLECTION, ALONG WITH A RANGE OF MEMORABILIA WILL BE OFFERED 'WITHOUT RESERVE'. 'RM IS HONORED TO HAVE BEEN ENTRUSTED WITH THE PRESENTATION OF THE MILTON ROBSON COLLECTION', SAID IAN KELLEHER, RM AUCTIONS. 'MILT ROBSON IS A PASSIONATE CAR GUY WITH AN INCREDIBLE EYE FOR QUALITY. HIS COLLECTION IS KNOWN ACROSS THE COUNTRY BY LIKE-MINDED COLLECTORS AND ENTHUSIASTS AS IT REPRESENTS ONE OF THE MOST DIVERSE CROSS SECTIONS OF THE FINEST AND MOST DESIRABLE AMERICAN AUTOMOBILES PRODUCED.' THE HIGHLIGHT ATTRACTION FOR THE AUCTION IS A TRIO OF PONTIACS GTO JUDGE CONVERTIBLES, INCLUDING A STARLIGHT BLACK '69 JUDGE, ONE OF THE MOST RARE AND DESIRABLE PONTIAC IN EXISTENCE WITH AN ESTIMATE PRE-SALE OF $750,000 - $1,000,000. IT LEADS A CHARGE OF 12 PONTIAC INCLUDED IN THE SALE. ALSO ON OFFER, AN ALL-ORIGINAL 1969 CHEVROLET CAMARO YENKO/SC SPORT COUPE, ONE OF THE MOST VAUNTED VEHICLES OF THE MUSCLE CAR ERA. ADDITIONAL SALE HIGHLIGHTS INCLUDE: A STUNNING, ONE OF A KIND 1953 CADILLAC ELDORADO SUPERCHARGED CONVERTIBLE, ESTIMATED AT $450,000 TO $650,000; A 1960 CHRYSLER 300F FOUR-SPEED CONVERTIBLE, THE ONLY FACTORY FOUR-SPEED, 400hp CONVERTIBLE IN EXISTENCE AND ONE OF THE MOST DESIRABLE LETTER CARS OF ALL TIME, ESTIMATED TO SELL FOR $350,000; AND, A TOP OF THE LINE, BEAUTIFULLY-RESTORED 1957 DESOTO ADVENTURER CONVERTIBLE, ESTIMATED AT $350,000.

RM AUCTION S TO SELL CLASSIC 'MUSCLE' CARS FROM THE ROBSON COLLECTION

ONE OF THE WORLD'S PREMIER MUSCLE CAR COLLECTIONS WILL CROSS THE AUCTION BLOCK IN GEORGIA NEXT MONTH AS RM AUCTIONS PRESENTS THE MILTON ROBSON COLLECTION, A SINGLE-VENDOR SALE TO BE HELD IN GAINSVILLE, GEORGIA, 13.NOVEMBER. THE RESULT OF OVER 25 YEARS OF CAREFUL ACQUISITION BY LIFELONG 'CAR GUY' MILTON ROBSON, THE ROBSON COLLECTION FEATURES A REMARKABLE SERIES OF LOW-PRODUCTION AND ULTRA-HIGH SPECIFICATION DETROIT MUSCLE CARS, ALONG WITH A SERIES OF ICONIC FIFTIES AND SIXTIES CLASSICS, AND A SUPERB SELECTION OF HENRY FORD'S ORIGINAL FLATBED V8s. A TOTAL OF 55 VEHICLES FROM THE COLLECTION, ALONG WITH A RANGE OF MEMORABILIA WILL BE OFFERED 'WITHOUT RESERVE'. 'RM IS HONORED TO HAVE BEEN ENTRUSTED WITH THE PRESENTATION OF THE MILTON ROBSON COLLECTION', SAID IAN KELLEHER, RM AUCTIONS. 'MILT ROBSON IS A PASSIONATE CAR GUY WITH AN INCREDIBLE EYE FOR QUALITY. HIS COLLECTION IS KNOWN ACROSS THE COUNTRY BY LIKE-MINDED COLLECTORS AND ENTHUSIASTS AS IT REPRESENTS ONE OF THE MOST DIVERSE CROSS SECTIONS OF THE FINEST AND MOST DESIRABLE AMERICAN AUTOMOBILES PRODUCED.' THE HIGHLIGHT ATTRACTION FOR THE AUCTION IS A TRIO OF PONTIACS GTO JUDGE CONVERTIBLES, INCLUDING A STARLIGHT BLACK '69 JUDGE, ONE OF THE MOST RARE AND DESIRABLE PONTIAC IN EXISTENCE WITH AN ESTIMATE PRE-SALE OF $750,000 - $1,000,000. IT LEADS A CHARGE OF 12 PONTIAC INCLUDED IN THE SALE. ALSO ON OFFER, AN ALL-ORIGINAL 1969 CHEVROLET CAMARO YENKO/SC SPORT COUPE, ONE OF THE MOST VAUNTED VEHICLES OF THE MUSCLE CAR ERA. ADDITIONAL SALE HIGHLIGHTS INCLUDE: A STUNNING, ONE OF A KIND 1953 CADILLAC ELDORADO SUPERCHARGED CONVERTIBLE, ESTIMATED AT $450,000 TO $650,000; A 1960 CHRYSLER 300F FOUR-SPEED CONVERTIBLE, THE ONLY FACTORY FOUR-SPEED, 400hp CONVERTIBLE IN EXISTENCE AND ONE OF THE MOST DESIRABLE LETTER CARS OF ALL TIME, ESTIMATED TO SELL FOR $350,000; AND, A TOP OF THE LINE, BEAUTIFULLY-RESTORED 1957 DESOTO ADVENTURER CONVERTIBLE, ESTIMATED AT $350,000.

RM AUCTION S TO SELL CLASSIC 'MUSCLE' CARS FROM THE ROBSON COLLECTION

ON 16.NOVEMBER SALVADOR DALI'S ICONIC SURREALIST PAINTING 'THE PERSISTENCE OF MEMORY' FROM THE MUSEUM OF MODERN ART, NEW YORK, WILL JOIN THE HIGHLY SUCCESSFUL EXHIBITION 'SALVADOR DALI: THE LATE WORK'. THE EXHIBITION BRINGS TOGETHER MANY WORKS FROM DALI'S LATER CAREER AS WELL AS SEVERAL WORKS OF ART NOT SEEN IN THE UNITED STATES SINCE THE 1950s. THE EXHIBITION WILL BE ON VIEW THROUGH 9.JANUARY.2011. 'THE PERSISTENCE OF MEMORY' REPRESENTS DALI IN WAYS FEW PAINTINGS HAVE FOR OTHER ARTISTS' SAID EXHIBITION CURATOR AND DALI SCHOLAR ELLIOTT KING. 'IT'S NO EXAGGERATION THAT THIS '10 X 14 INCHES OF DYNAMITE' IS THE IMAGE THAT MADE HIM A CELEBRITY, SETTING THE STAGE FOR ALL THE ART AND ANTICS THAT FOLLOWED.' PAINTED IN 1931, 'THE PERSISTENCE OF MEMORY' IS WIDELY RECOGNIZED AS ONE OF SALVADOR DALI'S MOST FAMOUS PAINTINGS. ACCORDING TO HIS AUTOBIOGRAPHY 'THE SECRET LIFE OF SALVADOR DALI', THE PAINTING WAS DONE ONE EVENING AFTER DINNER WHILE HIS WIFE GALA WAS OUT. DALI WAS LOOKING AT A LANDSCAPE THAT HE HAD PAINTED, TRYING TO THINK OF SOMETHING MEMORABLE AND FANTASTIC TO INSERT INTO THE LANDSCAPE. NEARBY WAS A PIECE OF CAMEMBERT CHEESE THAT HAD BEGUN TO MELT. AS HE LOOKED AT THE MELTING CHEESE, HE GOT THE IDES TO PAINT A SOFT CLOCK. WHEN GALA CAME HOME DALI PUT HIS HANDS OVER HERS EYES, REVEALED THE PAINTING AND ASKED WHAT SHE THOUGHT. HER RESPONSE WAS THAT ONCE SOMEONE HAD SEEN IT, THEY WOULD NEVER FORGET IT, HENCE THE TITLE 'THE PERSISTENCE OF MEMORY.' 'SALVADOR DALI: THE LATE WORK', AT THE HIGH MUSEUM OF ATLANTA, IS THE FIRST EXHIBITION TO FOCUS SPECIFICALLY ON DALI'S ART AFTER 1940. THE EXHIBITION FEATURES 115 WORKS, INCLUDING 40 PAINTINGS AND A RELATED GROUP OF DRAWINGS, PRINTS AND OTHER DALI EPHEMERA. WHILE DALI IS BEST KNOW AS A LEADING MEMBER OF THE SURREALIST MOVEMENT OF THE LATE 1930s, 'SALVADOR DALI: THE LATE WORK' REASSESSES HIS CAREER FROM 1940 TO HIS DEATH IN 1989. DALI'S LATE WORK, WHICH MAKES UP MORE THAN HALF OF HIS TOTAL ARTISTIC OUTPUT, DREW INSPIRATION SIMULTANEOUSLY FROM THE OLD MASTERS AND TEH CONTEMPORARY WORLD, RESULTING IN WORKS THAT WERE MARKEDLY OUT OF STEP WITH THE PREVAILING STYLES OF THEIR DAY, BUT TODAY APPEAR STRIKINGLY CONTEMPORARY.

DALI'S 'THE PERSISTENCE OF MEMORY' TO JOIN DALI EXHIBITION