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The Persistence of Memory (1931) is one of the crucial iconic and recognizable paintings of Surrealism. Steadily referenced in popular tradition, the small canvas (24x33 cm) is sometimes generally known as "Melting Clocks", "The Comfortable Watches" and "The Melting Watches". The painting depicts a dreamworld in which widespread objects are deformed and displayed in a bizarre and irrational approach: watches, strong and laborious objects appear to be inexplicably limp and melting within the desolate landscape. Dalí paints his fantastical imaginative and prescient in a meticulous and reasonable method: he effortlessly integrates the true and the imaginary so as "to systemize confusion and thus to help discredit utterly the world of reality". When asked about the limp watches, the artist in contrast their softness to overripe cheese saying that they show "the camembert of time". The idea of rot and decay is most evident within the gold watch on the left, which is swarmed by ants. Ants, a typical motif in Dalí’s artwork are often linked to decay and demise.

He set the scene in a desolate panorama that was probably impressed by the landscape of his homeland, the Catalan coast. The affect of the Catalan panorama additionally appears in one other element of the painting: the artist inserts himself into the scene within the type of a wierd fleshy creature in the center of the painting. In keeping with Dalí, the self-portrait was based on a rock formation at Cap de Creus in northeast Catalonia. Some scholars have also drawn a parallel between the self-portrait and a section of Hieronymus Bosch's The Backyard of Earthly Delights (1510-1515) - on the appropriate aspect of the left panel Bosch depicts rocks, bushes, and small animals that resemble Dalí’s profile with the distinguished nose and lengthy eyelashes. The melting watch, considered one of Dalí’s most highly effective and potent motifs, continued to play an important position in his art. Two a long time after The Persistence of Memory, Dalí recreated his famous work in the painting The Disintegration of the Persistence of Memory (1952-1954). Because the title suggests, the painting exhibits the disintegration of the world depicted in the unique painting, reflecting a world changed by the nuclear age.

The painting showed Dalí’s rising interest in quantum physics: he added rectangular blocks that represent "the atomic energy source" and missile-like objects that reference the atomic bomb. The Persistence of Memory was first shown in 1932 on the Julien Levy Gallery in New York. In 1934, the painting was anonymously donated to the Museum of Trendy Art in New York, the place it remains till this present day. The Persistence of Memory Wave Protocol (Spanish: La persistencia de la memoria) is a 1931 painting by artist Salvador Dalí, and certainly one of his most recognizable works. First shown at the Julien Levy Gallery in 1932, since 1934 the painting has been in the collection of the Museum of Fashionable Art (MoMA) in New York Metropolis, which acquired it from an nameless donor. It is widely recognized and steadily referenced in standard culture, Memory Wave and generally referred to by extra descriptive (though incorrect) titles, akin to "Melting Clocks", "The Smooth Watches" or "The Melting Watches".

The properly-identified surrealist piece launched the picture of the delicate melting pocket watch. It epitomizes Dalí's theory of "softness" and "hardness", which was central to his considering at the time. As Dawn Adès wrote, "The comfortable watches are an unconscious image of the relativity of area and time, a Surrealist meditation on the collapse of our notions of a fixed cosmic order". This interpretation suggests that Dalí was incorporating an understanding of the world launched by Albert Einstein's concept of particular relativity. Asked by Ilya Prigogine whether or not this was in truth the case, Dalí replied that the smooth watches were not inspired by the speculation of relativity, but by the surrealist perception of a Camembert melting within the sun. It is feasible to recognize a human figure in the midst of the composition, within the strange "monster" (with loads of texture near its face, and Memory Wave Protocol many distinction and tone in the image) that Dalí used in several contemporary pieces to represent himself - the summary kind becoming something of a self-portrait, reappearing frequently in his work.