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The viewer sees Dals confidence of vision, as well as the beginning of that masterful handling of paint that would go on to become his hallmark.

It is a dramatic, psychological, black-humored satire on corruption in high office, telling the story of a top police officer who kills his mistress, and then tests whether the.

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Painted in 1923 Footnotes Provenance Sala Dalmau Collection, Barcelona.

I, 1904 - 1946, Cologne, 2007, no.

Salvador Dals early works are among some of the most compelling pictorial experiments one could hope to discover in an artists formative years.

Even as a student, Dal had an impressive confidence when it came to tackling new ideas and styles.

The year in which Dal created the work was undoubtedly a turning point in his life as a painter.

He had left his beloved home town of Figueres in 1922 to move to Madrid to study at the San Fernando Academy of Painting, Sculpture and the Graphic Arts, where he encountered figures from the avant-garde and read voraciously from cutting edge reviews.

The trio would go on to become some of the most important, and infamous, figures in Spanish modernist culture.

Previous to this move to the capital, Dals work had been largely concerned with interpreting the work of the Fauves - Derain, Matisse, Van Dongen - and the Pointilliste masters - Seurat, Signac.

The port of Cadaqus features repeatedly throughout the late teens and early 20s, depicted in a gradually shifting style but ever present.

Then on Dals arrival in Madrid the change in his work is evident.

In terms of subject matter Dal also turns his attention away from the landscapes of Cadaqus and portraits of his family members, and explores themes more in keeping with what was concerning the Parisian avant-garde.

Dals studies suffered a rather abrupt hiatus when he was thrown out of the Academy for protesting against the appointment of one of his tutors.

He was subsequently sent to jail in Catalonia, in the city of Girona, upon his return to the region under suspicion of being a reactionary.

After a short time in prison, the young artist was released, invigorated and inspired by his return to the Empord.

Dal, The Secret Life of Salvador Dal, New York, 1942, p.

His return to Figueres after being released from prison marked the beginning of a period of intense painting for Dal, in which he actively threw off the obvious debt to the Impressionists, Fauves and Pointillists that had characterised his work before 1922.

The present lot represents perfectly this new phase, in which we see Dal utilising a restrained colour palette of brown, green, silvery grey and muted pinks.

This palette, along with the plasticity of the landscape, betrays his new influence, namely Picasso, Braque and Gris experiments in Cubism.

Dal was truly immersing himself in Cubism during this time, having familiarised himself with the movement through lEsprit Nouveau (Le Corbusier and Ozenfants avant-garde magazine) and Boccionis Pittura scultura plastica.

The silver leaves of the ancient olive groves twist inwards, creating a strong centrifugal structure to the work, evoking the winds that blow through the hills and over towards the sea.

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This is at once a timeless work, and one full of references to the most advanced of artistic practices.

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