The lower half hangs limply over the edge, like an over–ripe cheese melting in the sun. It’s huge, almost the same size as the stunted tree above it. It hangs half of the blue face outwards, like a big blue banana skin, with one hand shown pointing to the 6.Ī second, similar pocket watch is draped over the edge of the platform below. It has no strap or chain, just a round knob for winding it up. It’s an old–fashioned, silver pocket watch, with a blue face. Over this branch is draped one of the watches. From it sprouts a grayish, withered tree: lopped off at the top, with not a leaf in sight, extending one thin branch out to the right. In the bottom left of the painting, from 7 o’clock to 9 o’clock is the corner of a brown wooden platform upon which the artist’s signature is barely visible. At the top right, or at one o’clock, a sunlit high ridge of rocky land juts into the sea. The position of the objects in this painting will be indicated using the analogy of the face of a clock.
But the upper portion of the sand is a lighter brown, with the calm, light blue sea in the distance and the top third of the painting has yellow sky that graduates into deep blue at the very top of the painting.
The bottom two–thirds of the canvas is occupied by a dark brown, flat expanse of sand that is deep in shadow. But they’re like no watch you’d find in the waking world: they’re soft, and they’re draped over other objects in the scenery like discarded clothing.īeginning with the landscape, it seems to be a desolate coastal region. In a dreamlike landscape, giant watches dominate the foreground. But it’s a hauntingly strange and memorable image. Narrator 2: This is a small, framed painting, only about the size and shape of a computer screen. Oil on canvas, 9 inches high by thirteen inches wide. The Persistence of Memory by the Spanish artist, Salvador Dalí, 1904–1989.
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