Showing the impudence of Dalí, but also the reach of his reputation, McGirk adds, "[Dalí] wanted it blessed by the Pope. This was a gamble: the Vatican's head of protocol was likely to glance through Dalí's press cuttings and slam the door on him. But Dalí managed to arrange a private interview with Pope Pius XII. The pontiff was reportedly impressed by the [painting] and perhaps a bit bemused by the extravagant claims that this surrealist, with his moustache twisted into horns stiffened by date-sugar, would be the twentieth century's unlikely saviour of Christian art ". Dali made Soft Construction with Boiled Beans to represent the horrors of the Spanish Civil War. Dali painted this 6 months before the Spanish Civil War had even begun and then claimed that he had known the war was going We get the impression of motion and speed with some spheres, consistent with the evident speed of real objects, orbiting in outer space and inside the atom. One of the most representative works from the nuclear mysticism period. It is the outcome of a Dalí impassioned by science and for the theories of the disintegration of the atom. Gala’s face is made up from a discontinuous, fragmented setting, densely populated by spheres, which on the axis of the canvas takes on a prodigious three-dimensional vision and perspective. As Dalí clarified in his Anti-Matter Manifesto: “Today, the exterior world —the physical one— has gone beyond the psychological one. My father, today, is Doctor Heisenberg”. It is one of the most eloquent acts of homage to Gala’s face that Dalí produced, and he wanted it to be seen in the Palace of Winds in his Theatre-Museum, on an easel that had belonged to Meissonier, a painter of whom there are two works in the museum that formed part of Dalí’s private collection. Dalí fed the idea that he and Gala collaborated with each other, but there’s no evidence that Gala ever told Dalí what to paint. In the male-dominated Surrealist movement, though, Gala more than held her ground. A photo shows her playing chess with the Surrealists, the only female in view. She and Dalí were only too happy to be photographed together: the exhibitionism of their “private” life was itself a kind of performance art. On that project, at least, they worked as equals.

major part of Dali's "paranoia-critical method," which he put forward in his 1935 essay "The Conquest of the Irrational." He explained his process as a "spontaneous method of irrational understanding based upon the interpretative breaking out into monstrous excrescences of arms and legs tearing at one another in a delirium of autostrangulation." The desecration of the human body was a great preoccupation of the Surrealists in general, and of Dali in particular. The critic Nina Sophia Miralles wrote: "Dalí's imagination is often seen as a force of its own, but in reality, it was a fragile construct, unable to flourish without Gala, whom he used as a shield. Behind her, he would be safe to create; without her, he would be swept away. Dalí honored this coauthorship of his life. As early as the thirties [when this piece was produced] he began to sign his canvases with both their names even though she'd never so much as lifted a brush. 'It is mostly with your blood, Gala, that I paint my pictures', he told her". Dalì encouraged Gala’s amorous adventures. He often claimed to be a virgin (at least until he met Gala at 25), impotent, and afraid of conventional sex. Dalì and Gala hosted weekly orgies where he played the role of a voyeur. Alternatively cast as the Virgin Mary, a " Venus of Urbino"-esque reclining figure and a dark, enigmatic woman, Gala appeared in hundreds of her husband’s drawings and paintings. Soon, Salvador even started signing works with their joint signature, “Gala Salvador Dalí,” in honor of his belief that it was “mostly with your blood, Gala, that I paint my pictures.”

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According to a press release, Gala Salvador Dali relies on a selection of letters, postcards, books and clothing derived from Púbol, as well as 60 of Salvador’s paintings and works by fellow surrealists Max Ernst, Man Ray and Cecil Beaton. Armed with 315 artifacts linked with the enigmatic figure’s life, curator Estrella de Diego set out to answer the following questions: “Who was this woman whom everybody noticed…Was she simply an inspiring muse for artists and poets? Or, despite having few signed pieces … was she more of a creator?” Gala also grew tired of living with her husband's eccentricities who, to appease her, bought Gala a castle in Púbol, Spain. It was a space that was Gala's alone; even her husband was not allowed to visit unless he was formally invited. Citing the co-ordinator of the Gala-Salvador Dalí Foundation, Jordi Artigas i Cadena, Minder describes how Gala wanted the castle to be "a place of silence and nostalgia, designed for a lady looking for her lost Russian youth" and that Dalí "decorated the interior specifically for his wife, encrusting some ceilings with a 'G' coat of arms in her honor". Dalí himself wrote in his Unspeakable Confessions in 1973: "I gave her a mansion [...] where she would reign like an absolute sovereign, right up to the point that I could visit her only by hand-written invitation from her. I limited myself to the pleasure of decorating her ceilings so that when she raised her eyes, she would always find me in her sky". https://www.salvador-dali.org/en/museums/dali-theatre-museum-in-figueres/the-collection/131/galatea-of-the-spheres

The fragmentation indicates Dalí’s fascination at the time with nuclear physics and the revelation that matter was made up of atoms. He explored these concepts (usually coupled with religion) in many of his paintings, declaring those years his nuclear mysticismperiod. In his Anti-Matter Manifesto, Dalí explained this new approach to art: Galatea of the Spheres is a painting by Salvador Dalí made in 1952. It depicts Gala Dalí, Salvador Dalí's wife and muse, as pieced together through a series of spheres arranged in a continuous array. The name Galatea refers to a sea nymph of Classical mythology renowned for her virtue, and may also refer to the statue beloved by its creator, Pygmalion.Galatea de las Esferas es una pintura realizada por Salvador Dalí en 1952. Representa a Gala Dalí, esposa y musa de Salvador, formándose con una serie de esferas. El nombre de Galatea se refiere a la ninfa del mar de la mitología clásica conocida por su virtud, aunque también podría referirse a la estatua amada por su creador, Pigmalión. (es) It’s at this point that the long-held notion of Gala as a greedy social climber (in a 1998 article, Vanity Fair ’s John Richardson described her as “the demonic dominatrix” of Salvador’s dreams) departs from the narrative offered by the Barcelona exhibition. As the show’s curator, de Diego, tells the Art Newspaper 's Hannah McGivern, Gala abandoned her life with Éluard to be with “a very young artist who nobody knew at that time, [living] in Catalonia in the middle of nowhere.” Salvador Dali belongs to surrealism masters, whose works are considered to have been influenced by Renaissance art. When looking at any of Dali’s paintings, it would be not hard to notice that the artist was extremely talented and imaginative man. His works have always drawn considerable interest. One of such works is Galatea of the Spheres, which will be analyzed below.