Major Achievements

Persistence of Memory (1931)
Persistence of Memory expresses the eternal theme of time and the limitation of our existence with the boundary of time. Perhaps this is why this painting has been reproduced more than any of his other work. The concern for time, how we use time, where time goes, what time means is eternal and feels as relevant today than ever.

Metamorphosis of Narcissus (1937-1938)
This painting shows the full development of Dalì's surrealist style, with rich color, detail, classical references, and a strong use of repeated images. The profusion of detail, from the dog in the corner to the naked dancers in the background, has invited comparisons to Hieronymous Bosch, a nothern European painter from the late Middle Ages. Like The Persistence of Memory , this work also includes references to death and decay, from the emaciated dog chewing on blood to the ants crawling over the petrified hand.

The Discovery of America by Christopher Columbus (1958-1959)
This work exemplifies Dalì's "classic" period, when he created large, epic canvases depicting religious or historical themes. These paintings sold very well to private collectors and exhibited a full development of technique, as Dalì created them over a much longer period of time than his earlier works. In abandoning his earlier system of symbols for universal and classic themes, however, Dalì was derided by critics. The major inspirations for this painting were the 300 th anniversary of the death of Velasquez (a Spanish painter Dalì considered an important influence), historical rumors that Columbus was Catalonian rather than Italian, and the commissioning gallery's address on Columbus Circle. The most Dalìesque features of the painting are the surprising, dynamic perspective and the dreamlike quality sparked by the lack of distinction between sea and sky. This work also reveals Dalì's favorite habit of depicting his wife, Gala, as a religious figure. Here, he paints Gala as St. Helena, the mother of Constantine, founder of the Byzantium Empire. Dalì himself also appears in the painting, as a black-hooded monk kneeling next to the ship . The forest of crosses, lances, standards and pole arms serves as a direct reference to Velasquez's painting The Surrender at Breda (or The Lances), and a transparent Christ on the cross is visible among these symbols.