In 1929, Dalí collaborated with Surrealist film director Luis Buñuel on the short film Un Chien Andalou (An Andalusian Dog).
His main contribution was to help Buñuel write the script for the film.
Dalí later claimed to have also played a significant role in the filming of the project, but this is not substantiated by contemporary accounts.
In August 1929, Dalí met his lifelong muse and future wife Gala, born Elena Ivanovna Diakonova.
She was a Russian immigrant ten years his senior, who at that time was married to Surrealist poet Paul Éluard.

In works such as The First Days of Spring, The Great Masturbator and The Lugubrious Game Dalí continued his exploration of the themes of sexual anxiety and unconscious desires.
Dalí's first Paris exhibition was at the recently opened Goemans Gallery in November 1929 and featured eleven works.
In his preface to the catalog, André Breton described Dalí's new work as "the most hallucinatory that has been produced up to now."
The exhibition was a commercial success but the critical response was divided.
In the same year, Dalí officially joined the Surrealist group in the Montparnasse quarter of Paris.
The Surrealists hailed what Dalí was later to call his paranoiac-critical method of accessing the subconscious for greater artistic creativity.

Meanwhile, Dalí's relationship with his father was close to rupture.
Don Salvador Dalí y Cusi strongly disapproved of his son's romance with Gala, and saw his connection to the Surrealists as a bad influence on his morals.
The final straw was when Don Salvador read in a Barcelona newspaper that his son had recently exhibited in Paris a drawing of the Sacred Heart of Jesus Christ, with a provocative inscription: "Sometimes, I spit for fun on my mother's portrait".
Outraged, Don Salvador demanded that his son recant publicly.
Dalí refused, perhaps out of fear of expulsion from the Surrealist group, and was violently thrown out of his paternal home on 28 December 1929.
His father told him that he would be disinherited, and that he should never set foot in Cadaqués again.
The following summer, Dalí and Gala rented a small fisherman's cabin in a nearby bay at Port Lligat.
He soon bought the cabin, and over the years enlarged it by buying neighboring ones, gradually building his beloved villa by the sea.
Dalí's father would eventually relent and come to accept his son's companion.

In 1931, Dalí painted one of his most famous works, The Persistence of Memory, which developed a surrealistic image of soft, melting pocket watches.
The general interpretation of the work is that the soft watches are a rejection of the assumption that time is rigid or deterministic.
This idea is supported by other images in the work, such as the wide expanding landscape, and other limp watches shown being devoured by ants.

Dalí had two important exhibitions at the Pierre Colle Gallery in Paris in June 1931 and May–June 1932.
The earlier exhibition included sixteen paintings of which The Persistence of Memory attracted the most attention.
Some of the notable features of the exhibitions were the proliferation of images and references to Dalí's muse Gala and the inclusion of Surrealist Objects such as Hypnagogic Clock and Clock Based on the Decomposition of Bodies.
Dalí's last, and largest, exhibition at the Pierre Colle Gallery was held in June 1933 and included twenty-two paintings, ten drawings and two objects.
One critic noted Dalí's precise draftsmanship and attention to detail, describing him as a "paranoiac of geometrical temperament".
Dalí's first New York exhibition was held at Julien Levy's gallery in November–December 1933.
The exhibition featured twenty-six works and was a commercial and critical success.
The New Yorker critic praised the precision and lack of sentimentality in the works, calling them "frozen nightmares."

Dalí and Gala, having lived together since 1929, were civilly married on 30 January 1934 in Paris.
They later remarried in a Church ceremony on 8 August 1958 at Sant Martí Vell.
In addition to inspiring many artworks throughout her life, Gala would ac
In 1929, Dalí collaborated with Surrealist film director Luis Buñuel on the short film Un Chien Andalou (An Andalusian Dog). His main contribution was to help Buñuel write the script for the film. Dalí later claimed to have also played a significant role in the filming of the project, but this is not substantiated by contemporary accounts. In August 1929, Dalí met his lifelong muse and future wife Gala, born Elena Ivanovna Diakonova. She was a Russian immigrant ten years his senior, who at that time was married to Surrealist poet Paul Éluard.
In works such as The First Days of Spring, The Great Masturbator and The Lugubrious Game Dalí continued his exploration of the themes of sexual anxiety and unconscious desires. Dalí's first Paris exhibition was at the recently opened Goemans Gallery in November 1929 and featured eleven works. In his preface to the catalog, André Breton described Dalí's new work as "the most hallucinatory that has been produced up to now." The exhibition was a commercial success but the critical response was divided. In the same year, Dalí officially joined the Surrealist group in the Montparnasse quarter of Paris. The Surrealists hailed what Dalí was later to call his paranoiac-critical method of accessing the subconscious for greater artistic creativity.
Meanwhile, Dalí's relationship with his father was close to rupture. Don Salvador Dalí y Cusi strongly disapproved of his son's romance with Gala, and saw his connection to the Surrealists as a bad influence on his morals. The final straw was when Don Salvador read in a Barcelona newspaper that his son had recently exhibited in Paris a drawing of the Sacred Heart of Jesus Christ, with a provocative inscription: "Sometimes, I spit for fun on my mother's portrait". Outraged, Don Salvador demanded that his son recant publicly. Dalí refused, perhaps out of fear of expulsion from the Surrealist group, and was violently thrown out of his paternal home on 28 December 1929. His father told him that he would be disinherited, and that he should never set foot in Cadaqués again. The following summer, Dalí and Gala rented a small fisherman's cabin in a nearby bay at Port Lligat. He soon bought the cabin, and over the years enlarged it by buying neighboring ones, gradually building his beloved villa by the sea. Dalí's father would eventually relent and come to accept his son's companion.
In 1931, Dalí painted one of his most famous works, The Persistence of Memory, which developed a surrealistic image of soft, melting pocket watches. The general interpretation of the work is that the soft watches are a rejection of the assumption that time is rigid or deterministic. This idea is supported by other images in the work, such as the wide expanding landscape, and other limp watches shown being devoured by ants.
Dalí had two important exhibitions at the Pierre Colle Gallery in Paris in June 1931 and May–June 1932. The earlier exhibition included sixteen paintings of which The Persistence of Memory attracted the most attention. Some of the notable features of the exhibitions were the proliferation of images and references to Dalí's muse Gala and the inclusion of Surrealist Objects such as Hypnagogic Clock and Clock Based on the Decomposition of Bodies. Dalí's last, and largest, exhibition at the Pierre Colle Gallery was held in June 1933 and included twenty-two paintings, ten drawings and two objects. One critic noted Dalí's precise draftsmanship and attention to detail, describing him as a "paranoiac of geometrical temperament". Dalí's first New York exhibition was held at Julien Levy's gallery in November–December 1933. The exhibition featured twenty-six works and was a commercial and critical success. The New Yorker critic praised the precision and lack of sentimentality in the works, calling them "frozen nightmares."
Dalí and Gala, having lived together since 1929, were civilly married on 30 January 1934 in Paris. They later remarried in a Church ceremony on 8 August 1958 at Sant Martí Vell. In addition to inspiring many artworks throughout her life, Gala would ac
Salvador Dalí