ABSTRACT
This chapter argues that there is a symbiosis between the woman and the landscape that forms her and likewise between the background landscape and the female body. The centrality of the landscape-woman figure and her chopped left arm anticipates 1932–1933 works such as Familiar Phantoms and The Shameless Woman, although these works represent female sexuality as a threat. The chapter discusses that the similarities between Fundacio Angel Planells and Salvador Dali should be taken as an artistic dialogue. Planells’ artistic connections with Dali as well as the latter’s standing as an artist have arguably led to a number of erroneous attributions. The chapter focuses on Planells’ record straight in that he deserves to be considered independently from Dali due to his early engagement with surrealism in Spain and the originality of his visual and verbal work in terms of themes and techniques.
