In 1948 Dalí and Gala moved back into their house in Port Lligat, on the coast near Cadaqués.
For the next three decades they would spend most of their time there, spending winters in Paris and New York.
Dalí 's decision to live in Spain under Franco and his public support for the regime prompted outrage from many anti-Francoist artists and intellectuals.
Pablo Picasso refused to mention Dalí's name or acknowledge his existence for the rest of his life.
In 1960, André Breton unsuccessfully fought against the inclusion of Dalí's Sistine Madonna in the Surrealist Intrusion in the Enchanter's Domain exhibition organized by Marcel Duchamp in New York.
 Breton and other Surrealists issued a tract to coincide with the exhibition denouncing Dalí as "the ex-apologist of Hitler... and friend of Franco."

In December 1949 Dalí's sister Anna Maria published her book Salvador Dalí Seen by his Sister.
Dalí was angered by passages which he considered derogatory towards his wife Gala and broke off relations with his family.
When Dalí's father died in September 1950 Dalí learned that he had been virtually disinherited in his will.
A two-year legal dispute followed over paintings and drawings Dalí had left in his family home, during which Dalí was accused of assaulting a public notary.

As Dalí moved further towards embracing Catholicism he introduced more religious iconography and themes in his painting.
In 1949 he painted a study for The Madonna of Port Lligat (first version, 1949) and showed it to Pope Pius XII during an audience arranged to discuss Dalí 's marriage to Gala.
This work was a precursor to the phase Dalí dubbed "Nuclear Mysticism," a fusion of Einsteinian physics, classicism and Catholic mysticism.
 In paintings such as The Madonna of Port Lligat, The Christ of Saint John on the Cross and The Disintegration of the Persistence of Memory, Dalí sought to synthesize Christian iconography with images of material disintegration inspired by nuclear physics.
His later Nuclear Mysticism works included La Gare de Perpignan (1965) and The Hallucinogenic Toreador (1968–70).

Dalí's keen interest in natural science and mathematics was further manifested by the proliferation of images of DNA and rhinoceros horn shapes in works from the mid-1950s.
According to Dalí, the rhinoceros horn signifies divine geometry because it grows in a logarithmic spiral.
Dalí was also fascinated by the tesseract (a four-dimensional cube), using it, for example, in Crucifixion (Corpus Hypercubus).

Dalí had been extensively using optical illusions such as double images, anamorphosis, negative space, visual puns and trompe l'œil since his Surrealist period and this continued in his later work.
At some point, Dalí had a glass floor installed in a room near his studio in Port Lligat.
He made extensive use of it to study foreshortening, both from above and from below, incorporating dramatic perspectives of figures and objects into his paintings.
 He also experimented with the bulletist technique pointillism, enlarged half-tone dot grids and stereoscopic images.
He was among the first artists to employ holography in an artistic manner.
In Dalí's later years, young artists such as Andy Warhol proclaimed him an important influence on pop art.

In 1960, Dalí began work on his Theatre-Museum in his home town of Figueres.
It was his largest single project and a main focus of his energy through to 1974, when it opened.
He continued to make additions through the mid-1980s.

In 1955 Dalí met Nanita Kalaschnikoff, who was to become a close friend, muse and model.
At a French nightclub in 1965 Dalí met Amanda Lear, a fashion model then known as Peki D'Oslo.
Lear became his protégée and one of his muses.
 According to Lear, she and Dalí were united in a "spiritual marriage" on a deserted mountaintop.
In 1948 Dalí and Gala moved back into their house in Port Lligat, on the coast near Cadaqués. For the next three decades they would spend most of their time there, spending winters in Paris and New York. Dalí 's decision to live in Spain under Franco and his public support for the regime prompted outrage from many anti-Francoist artists and intellectuals. Pablo Picasso refused to mention Dalí's name or acknowledge his existence for the rest of his life. In 1960, André Breton unsuccessfully fought against the inclusion of Dalí's Sistine Madonna in the Surrealist Intrusion in the Enchanter's Domain exhibition organized by Marcel Duchamp in New York.  Breton and other Surrealists issued a tract to coincide with the exhibition denouncing Dalí as "the ex-apologist of Hitler... and friend of Franco."
In December 1949 Dalí's sister Anna Maria published her book Salvador Dalí Seen by his Sister. Dalí was angered by passages which he considered derogatory towards his wife Gala and broke off relations with his family. When Dalí's father died in September 1950 Dalí learned that he had been virtually disinherited in his will. A two-year legal dispute followed over paintings and drawings Dalí had left in his family home, during which Dalí was accused of assaulting a public notary.
As Dalí moved further towards embracing Catholicism he introduced more religious iconography and themes in his painting. In 1949 he painted a study for The Madonna of Port Lligat (first version, 1949) and showed it to Pope Pius XII during an audience arranged to discuss Dalí 's marriage to Gala. This work was a precursor to the phase Dalí dubbed "Nuclear Mysticism," a fusion of Einsteinian physics, classicism and Catholic mysticism.  In paintings such as The Madonna of Port Lligat, The Christ of Saint John on the Cross and The Disintegration of the Persistence of Memory, Dalí sought to synthesize Christian iconography with images of material disintegration inspired by nuclear physics. His later Nuclear Mysticism works included La Gare de Perpignan (1965) and The Hallucinogenic Toreador (1968–70).
Dalí's keen interest in natural science and mathematics was further manifested by the proliferation of images of DNA and rhinoceros horn shapes in works from the mid-1950s. According to Dalí, the rhinoceros horn signifies divine geometry because it grows in a logarithmic spiral. Dalí was also fascinated by the tesseract (a four-dimensional cube), using it, for example, in Crucifixion (Corpus Hypercubus).
Dalí had been extensively using optical illusions such as double images, anamorphosis, negative space, visual puns and trompe l'œil since his Surrealist period and this continued in his later work. At some point, Dalí had a glass floor installed in a room near his studio in Port Lligat. He made extensive use of it to study foreshortening, both from above and from below, incorporating dramatic perspectives of figures and objects into his paintings.  He also experimented with the bulletist technique pointillism, enlarged half-tone dot grids and stereoscopic images. He was among the first artists to employ holography in an artistic manner. In Dalí's later years, young artists such as Andy Warhol proclaimed him an important influence on pop art.
In 1960, Dalí began work on his Theatre-Museum in his home town of Figueres. It was his largest single project and a main focus of his energy through to 1974, when it opened. He continued to make additions through the mid-1980s.
In 1955 Dalí met Nanita Kalaschnikoff, who was to become a close friend, muse and model. At a French nightclub in 1965 Dalí met Amanda Lear, a fashion model then known as Peki D'Oslo. Lear became his protégée and one of his muses.  According to Lear, she and Dalí were united in a "spiritual marriage" on a deserted mountaintop.
Salvador Dalí