这一幅相片般现实主义的作品是达利掌握又一种艺术风格的力证。随着达利的成熟，荷兰艺术大师美丽而又逼真的画作，比如像简·弗美尔的作品深深影响着他。
1929年，在萨尔瓦多·达利身上发生的两件事情使他加速迈向成功。
首先是他与加拉·艾吕雅在卡达克斯的偶然相遇。那时她是法国著名诗人保罗·艾吕雅的妻子，但是一遇上达利，他们就变得无法分离了。
The other important event was that Dali decided to formally join the Paris Surrealists in this same year.
In January， he met with Luis Bunuel in Figueras to work on a scriptscript n.手稿， 手迹， 剧本， 考生的笔试卷， 原本 for the film which would eventually be known as Un chien andalou (An Andalusian Dog). He also had his first one man show in Paris at Goemans Gallery， and was soon on his way to the top.
However， there was a price to pay for all this success. Disapproving of his relationship with Gala， Dalis father threw him out of the house， starting an estrangement that would last almost 30 years before being healed.
With no income to support them， Gala and Dali moved into a small shackshack n.小室 in a small village called Port ligate， to the north. There they spent many secluded hours together， as Dali churnedchurn v.粗制，搅拌， 搅动 n.搅乳器 out paintings which could be sold to support them.
另一个重要的事件是，同年达利决定正式加入巴黎的超现实主义组织。
1月，他在菲格拉斯与路易斯·布奈尔碰头，一起为后来名为《一条安达卢西亚的狗》的电影撰写剧本。他还在巴黎的高曼美术馆举行了首场个人画展，他的事业很快便如日中天。
然而，这一切成就也是要付出代价的。因为不满达利与加拉的关系，父亲将他赶出家门，这一隔阂将近30年后才得到化解。
由于收入匮乏，加拉和达利住进了家乡北部名叫波尔·利加特的一个小村庄的一间小木屋。在那里，他们度过了许多离群索居的时光，依靠达利出卖大量粗制的画为生。
In 1937 Dali visited Italy and adopted a more traditionaltraditional adj.传统的， 惯例的， 口传的， 传说的 style； this together with his political views(he was a supporter of General Franco) made Dali expelled from the Surrealist Group of Paris.
Of all the Surrealism achievements， there is one that stands out above all the others. The Paranoiac Critical Method was a sensibility， or way of perceiving reality that was developed by Salvador Dali. It was defined by Dali himself as“irrational knowledge”based on a “deli rium of interpretation.”
More simply put， it was a process by which the artist found new and unique ways to view the world around him. It is the ability of the artist or the viewer to perceiveperceive vt.察觉v.感知， 感到， 认识到 multiple images within the same configuration. The concept can be compared to Max Ernsts frottagefrottage 擦， 摩擦 or Leonardo da Vincis scribbling and drawings.
1937年，达利游历意大利，接受了较为传统的画风；再加上他的政治观点(他是佛朗哥将军的支持者)，他被巴黎的超现实主义团体开除了。
在所有的超现实主义成就里，有一项独占鳌头，那就是由达利创造的“偏执狂批判法”。那是一种感觉现实的敏感或方法，达利自己将它定义为基于“谵妄解释”的“非理性认知”。
简单来讲，这是达利发现全新独特的视角来观察他周围世界的过程，是这位艺术家或观察者在同一构图中发现多种形象的能力。这一概念能同马克思·恩斯特的擦印画法或达芬奇的信笔而画和素描相媲美。
As a matter of fact， all of us have practiced the Paranoiac Critical Method when gazing at stucco on a wall， or clouds in the sky， and seeing different shapes therein. Dali elevated this uniquely human characteristic into his own artform.
Dali， though not a true paranoid， was able to simulate a paranoid state， without the use of drugs， and upon his return to “normal perspective” he would paint what he saw and envisioned therein.
Dali was able to create what he called “hand painted dream photographs” which were physical， painted representations of the hallucinationshallucination n.幻觉， 幻想 and images he would see while in his paranoid state.
Although he certainly had his own load of mental problems to bear， it can be said that Dalis delusionsdelusion n.错觉 and paranoid hallucinations did not totally dominate his mind， as he was able to convey them to canvas with his miraculous skill.
实际上，所有人在注视墙上的灰泥或天空的云朵时都看到了其中不同的形象，就都运用了“偏执狂批判法”。达利将这个人类独有的特点提升为自己的艺术形式。
达利虽然不是真正的偏执狂，但却能够不靠药物的作用模拟偏执狂的状态，一旦回到“正常的视角”，他就能画出在偏执状态下所看到和想像的东西。
达利能够创造他所谓的“手绘的梦幻照片”，这是他在偏执状态中所看到的幻觉和形象的有形的绘画表现。
他虽然确实受到心理问题的折磨，但可以说，达利的妄想和偏执幻觉并没有完全控制了他的理智，因为他能用自己非凡的画技将它们在油画布上表现出来。
It is in this context that one of Dalis most famous statements takes on a whole newmeaning and understanding. “The only difference between myself and a madman， is that I am not mad！”
Indeed， Dali used his very Paranoiac Critical Method to enter alternatealternate adj.交替的， 轮流的， 预备的 v.交替， 轮流， 改变 levels of reality， in which his perceptionsperception n.理解感知，感觉 were markedlymarkedly adv.显著地， 明显地 different from everyday reality.
His surreal training had served him well， but paintings like Slave Market with Disappearing Bust of Voltaire1940， showed that he was quickly outgrowingoutgrowth n.长出， 派出， 结果， 副产物 even their influence. He was developing a style totally unique that would become a watershedwatershed n.分水岭 event in art， that of integrating the surreal with the everyday， so as to offer it to everyone.
正是在这个背景之下，达利最著名的一句话才有了全新的意义和理解。“我和疯子的惟一区别在于我并不疯！”
实际上，达利正是运用“偏执狂批判法”进入了现实另外的层面，他的感知与日常的现实显然不同。
他接受的超现实主义训练对他帮助很大，但是，像1940年《和消失的伏尔泰胸像在一起的奴隶市场》这样的画作表明，达利当时甚至正在迅速超越超现实主义的影响。他正在形成一种完全独特的风格，这种风格成了艺术上的一个分水岭，将超现实与日常经验融合，将它带给每一个人。
Dali moved to the U.S. in 1940， where he remained until 1948. His later paintings， often on religious themestheme n.(谈话， 写作等的)题目， 主题， 学生的作文， 作文题， 主题， 主题曲， 主旋律， are more classical in style.
Salvador Dali died on January 23， 1989.
达利1940年移居美国并一直待到1948年。达利的晚年作品经常涉及宗教主题，风格趋向古典。
萨尔瓦多·达利于1989年1月23日逝世。
作为一名艺术家，萨尔瓦多·达利的风格和作画工具不受限制。他的作品从早期的印象主义绘画到转型期的超现实主义作品，再到古典时期，反映了不断的变化和发展。无论创作是纯粹出于灵感，还是受雇作插图，达利的洞察力始终无可匹敌，使用的象征符号繁复多样。达利首先是个创新者。他的创造天才，始终是20世纪艺术的标准。