The relations of Salvador Dali and his wife Gala were repeatedly discussed, described in articles, notes, books, slandered and extolled by opponents and supporters of the artist's work. She is a fatal woman who definitely has a “sense” of talent. He is a surrealist and, to put it mildly, an unusual person. They were united by passion, love and creativity.
Gala became Dali's muse, which he captured in many paintings in the most unexpected and diverse ways. She and "Atomic Leda", "Madonna of Port Lligat", and "Galatea of the Spheres." Her face appears in his paintings three times and undergoes paranoid transformations. He also paints quite realistic portraits of Gala. Among them are “Automatic Beginning ...”, “Galarina” and, of course, “Gala Contemplating ...”, painted in oil on canvas measuring 31 by 27 centimeters in 1954. It is a reference to another creation of Dali - “Crucifixion or Hypercubic body”.
In this seemingly rather ordinary picture, we see a woman with her back turned to us so that only a half-profile of a graceful face is visible. She looks somewhere and, judging by the name, contemplates a certain thing called Corpus hypercubus. Her hair, whether blond or red, was neatly arranged, curled, fixed with a gold (maybe gilded?) Hairpin. The skin is yellowish beige. The woman is beautiful, elegant despite the fact that, obviously, she is about forty.
She is dressed in dark blue clothes (gives out a sleeve). A cloak or shawl is a milky-white fabric, and a scarf resembling molten gold is thrown over his shoulder. Gala (and this is she, this woman) holds his hand slightly and continues to look thoughtfully at Corpus hypercubus, as if for the first time seeing something so amazing, why a sense of admiration compresses her chest, not allowing to breathe, nor to move, nor to glance at the artist .