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New Dalí Museum exhibit showcases the artist’s ties to the European past

A painting of a women sitting with a cross in her right hand and book in her left hand, wearing a green and silver shimmering dress. She sits on a rock in front of a lake with dark clouds behind her.
© Salvador Dalí. Fundació Gala-Salvador Dalí (Artists Rights Society), 2026
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Courtesy of Dali Museum
Sainte Hélène à Port Lligat, 1956, Oil on canvas. Collection of the Dalí Museum, St. Petersburg; Gift of A. Reynolds & Eleanor Morse, 2007.20

The Dalí Museum opened its new exhibit titled "Dalí: Disruption + Devotion" on Saturday. It looks at Dalí’s connections to European predecessors whose work inspired the artist.

Salvador Dalí built a reputation on the strange and unexpected.

But a new exhibit at the Dalí Museum in St. Petersburg asks visitors to look beyond his surrealist imagery and see the artist as something else — a student of his European predecessors.

"Dalí: Disruption + Devotion," which opened Saturday, brings his work into conversation with artists whose paintings and techniques shaped his own.

Co-organized by the museum and Museum of Fine Arts, Boston, the exhibit brings together paintings, drawings and prints from both institutions’ collections. It runs through April 18.

The exhibit spans five centuries of art. Visitors will see Dalí’s work alongside that of artists like El Greco, Diego Velázquez, Orazio Gentileschi and Francisco Goya.

ALSO READ: How America provided Salvador Dalí a canvas for his imagination

Comparisons of the work range from shared subject matter to more subtle similarities, while the title reflects what curators see as a defining tension in Dalí’s work.

Jennifer Cohen is the Dalí Museum’s director of curatorial affairs and a co-curator of the exhibit.

“Dalí, I think, as a disruptor, that is kind of the artist that you would expect to see,” Cohen said. “And so almost counterintuitively, the devotion is more surprising.”

Cohen said visitors familiar with Dalí’s surrealist work may be struck by how closely some of his paintings connect to earlier art.

The exhibit puts those connections into view, allowing visitors to compare the works side-by-side.

“When these things come off the checklist, out of the book, and into the gallery in real life, really seeing that how similar these are, I think is really going to surprise people,” Cohen said.

A portrait of a white woman wearing a white dress with red highlights and big brown curls.
Museum of Fine Arts, Boston; Gift of Charlotte Nichols Greene in memory of her father and mother, Mr. and Mrs. Howard Nichols 21.2593
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Courtesy of The Dalí Museum
Workshop of: Diego Rodríguez de Silva y Velázquez, Spanish, 1599–1660; Infanta Maria Theresa, 1653 Oil on canvas;128.6 x 100.6 cm (50 5/8 x 39 5/8 in.)

One of the central comparisons pairs Velázquez's portrait of a young royal with Dalí’s own interpretation of the Infanata Margarita.

Frederick Ilchman, the chair and curator of paintings and art of Europe at the Museum of Fine Arts, Boston, and co-curator of the showing, said Dalí’s version shows how he could borrow from an earlier artist while bringing his own ideas to the subject.

Ilchman explained Velázquez’s workshop first established the portrait’s main elements before he added fine details to bring specific features to life.

ALSO READ: New exhibit at Florida museum explores Salvador Dali's life and influence

It's a technique Dalí echoed through tiny, energetic marks inspired by his post-World War II fascination.

“Here, it's Velázquez's tightening up the painting, so as to complete it,” he said. “And here, Dali is making comments on the new discoveries in physics.”

Ilchman described Dalí’s work as both technically refined and visually unexpected.

A grey painting with red and blue sparks. In the painting a shadow figure is seen painting a woman in the top right.
Collection of The Dalí Museum, St. Petersburg, FL (USA); Gift of A. Reynolds & Eleanor Morse, 2007.28


Photo © David Deranian, 2021
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Courtesy of The Dalí Museum
Velázquez Painting the Infanta Marguerita with the Lights and Shadows of His Own Glory, 1958, Oil on canvas

In some cases, Dalí made direct references to earlier paintings. In others, the influence appears in details like a color palette, a gesture or the position of a figure’s hand or head.

The comparisons continue through several themes, including fantasy and nightmare, portraiture, still life, religion and the passage of time.

For Ilchman, the connections reveal an artist who was constantly looking backward even as he tried to make something new.

ALSO READ: Dalí Museum announces a $65 million expansion

“Dali doesn't make art in a vacuum,” he said. “He's thinking about the past and his own place of the tradition, but he's also recalling again and again what he's done or things he would like to get to in the future.”

"Dalí: Disruption + Devotion" also includes an interactive experience created by students at Ringling College of Art and Design.

Visitors can scan QR codes in the galleries and respond to prompts about faith and provocation. Their responses will become part of an evolving projection.

Note: the Dali Museum is a financial supporter of WUSF.

Mithil Vyas is a WUSF/USF Zimmerman Rush Family Radio News intern for fall of 2026.