THE THEMES

In the Basilica of Pietrasanta, in its aisles, a psychological and intimate path, that will lead the viewer to face interior themes of great personal impact, unfolds. The exhibition is divided into four main themes that follow the narrative thread of the film Spellbound: Paranoia, Oneiric World, Psychoanalysis and Memory Recall.

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THE COLLECTION

The collection of original works featured in "Spellbound: Scenografia di un Sogno" is unique: bronze sculptures, Daum glassworks, graphics, illustrated books, Dalinian tarot cards, priceless design objects and surrealist furnishings, all owned by Dalí Universe.

These are symbolic artworks, which trace the entire surrealist iconography of the Catalan master, some of them never exhibited before in Italy. Through this exhibition, we see a Dalí less known to the general public, a multifaceted artist: painter, sculptor, designer, illustrator and even set designer.

The Spellbound: Canvas of a Dream

This majestic and monumental painting by Dalí, the Spellbound, is one of themost iconic sceneries in the history of cinema. A huge canvas stretches for about 11 meters with a height of 5 meters. Iconographically it represents glassy eyes, asurrealist iconography par excellence. For Dalí, in fact, the eye is the tool to show the viewer "invisible things" and the theme of the "double image - the image that suggests or transforms into a second image if observed at first sight or with attention".

The collaboration between Dalí and Hitchcock

That two great masters of the calibre of Salvador Dalí and Alfred Hitchcock could cross their paths to merge their talents in the creation of a joint work of art, was perhaps written in destiny, or more simply in the script of a dream. When driven by the determination to create a dream scene that did not take up the canonical cinematic clichés, Hitchcock once again decided to let the scenography speak and strongly wanted Dalí's collaboration. "I didn’t want to use the too old-fashioned haze effect of smearing petroleum jelly on the lens," said the director, "I wanted to make dreams come true with great clarity and more intense visual intensity than the film itself. That's why I called Dalí”.