00:01:04.589 --> 00:01:05.626
All right.

00:01:06.701 --> 00:01:11.654
I don't usually do acting like this
or performance,

00:01:11.808 --> 00:01:15.034
dying my hair with pigments.

00:01:15.686 --> 00:01:17.837
I normally use them

00:01:17.952 --> 00:01:21.216
on canvases or paper
in my work studio.

00:01:22.982 --> 00:01:26.208
In this particular case,
I'm doing it to explain a story

00:01:26.438 --> 00:01:28.742
that began over 20 years ago.

00:01:31.354 --> 00:01:35.539
Back then,
my hair wasn't as grey as it is now.

00:01:55.891 --> 00:01:58.157
I happened to be in Girona.

00:01:58.234 --> 00:01:59.731
I was at my sister's,

00:01:59.808 --> 00:02:02.304
recovering
from a shoulder operation.

00:02:02.995 --> 00:02:05.146
Whilst walking
around the outskirts

00:02:05.261 --> 00:02:07.104
I saw an antique shop

00:02:07.219 --> 00:02:09.600
where everything
was all over the place.

00:02:09.907 --> 00:02:13.248
There were some mattresses,
and behind them

00:02:13.594 --> 00:02:14.669
I saw a canvas.

00:02:15.514 --> 00:02:16.781
I lifted it up

00:02:17.702 --> 00:02:19.392
and when I saw those colours,

00:02:20.621 --> 00:02:21.773
it rang a bell.

00:02:21.850 --> 00:02:23.347
I put it back

00:02:23.501 --> 00:02:25.651
and ran to the library in Girona.

00:02:25.805 --> 00:02:29.990
When I got there, I asked them
for the biggest book on Dalí.

00:02:30.797 --> 00:02:32.064
I leafed through it

00:02:32.141 --> 00:02:35.021
and when I saw
the works from his early era,

00:02:35.098 --> 00:02:36.134
I knew it was a Dalí.

00:02:36.518 --> 00:02:39.014
I ran back to the shop.

00:02:39.706 --> 00:02:41.971
I asked him how much
he wanted for the painting.

00:02:42.048 --> 00:02:43.699
He said, "25,000 pesetas."

00:02:43.776 --> 00:02:45.888
I didn't haggle, I just bought it.

00:02:46.464 --> 00:02:49.498
I went to my sister's house
absolutely over the moon.

00:02:49.690 --> 00:02:52.262
I showed the painting
to all my family.

00:02:52.800 --> 00:02:53.875
They asked what it was.

00:02:54.182 --> 00:02:56.794
We asked him
where he was going with it.

00:02:56.986 --> 00:03:00.096
He said that he liked it
and that it could be a Dalí.

00:03:00.941 --> 00:03:04.474
We know what Tomeu is like,
we let him get on with it.

00:03:04.704 --> 00:03:05.702
What could you say?

00:03:05.894 --> 00:03:08.659
I took it back to Mallorca
and kept it in my studio.

00:03:08.851 --> 00:03:10.656
That was when I realised

00:03:10.886 --> 00:03:15.341
I had a long way to go to prove
the painting's authenticity.

00:03:30.086 --> 00:03:32.813
This painting... this painting

00:03:33.197 --> 00:03:35.232
was born with a silver spoon.

00:03:36.461 --> 00:03:37.690
The inscription reads,

00:03:38.880 --> 00:03:42.336
"To my beloved teacher

00:03:43.142 --> 00:03:46.138
on the day of his birth.

00:03:47.021 --> 00:03:49.709
On 27-9-96.

00:03:50.016 --> 00:03:51.014
Dalí."

00:03:51.360 --> 00:03:54.278
I realised there was
something interesting here.

00:03:54.624 --> 00:03:57.427
It was signed by Dalí,

00:03:58.579 --> 00:04:00.077
that had to be confirmed,

00:04:00.192 --> 00:04:02.650
but it included a dedication.

00:04:03.725 --> 00:04:06.067
I didn't know if it was surrealist,

00:04:06.144 --> 00:04:08.640
but at the time
it was incomprehensible.

00:04:09.062 --> 00:04:12.211
In the case of this painting,
the year '96 is a key date

00:04:12.518 --> 00:04:16.358
because Dalí
had not been born in 1896.

00:04:16.474 --> 00:04:17.894
He was born in 1904.

00:04:18.278 --> 00:04:19.622
And in 1996

00:04:19.776 --> 00:04:21.120
he was already dead.

00:04:21.734 --> 00:04:23.078
Consequently,

00:04:23.232 --> 00:04:25.190
if the date is '96,

00:04:26.112 --> 00:04:28.262
maybe it's impossible
this is a Dalí,

00:04:28.531 --> 00:04:32.870
provided that the date
refers to when the work was painted.

00:04:33.677 --> 00:04:35.366
Well, the first setback...

00:04:37.555 --> 00:04:40.205
was obviously
when the work was dated.

00:04:41.357 --> 00:04:44.928
But the real setback,
the real problem, came later.

00:04:45.427 --> 00:04:49.690
Today, much of the world media
has focused on the news

00:04:49.766 --> 00:04:53.107
of the death of Salvador Dalí
this morning in Figueres.

00:04:53.299 --> 00:04:57.830
His death came as a result
of recent failing health

00:04:57.984 --> 00:05:01.171
and heart and breathing problems
the artist had suffered.

00:05:01.517 --> 00:05:04.819
The only person who can certify
the authenticity of a work

00:05:04.896 --> 00:05:06.086
is the actual artist.

00:05:06.470 --> 00:05:08.736
Once the artist dies,

00:05:09.235 --> 00:05:11.808
nobody can guarantee it 100%.

00:05:12.115 --> 00:05:13.651
When I heard Dalí had died,

00:05:13.728 --> 00:05:17.414
it was a tremendous blow
to my research.

00:05:17.990 --> 00:05:20.141
When he comes across an obstacle

00:05:20.486 --> 00:05:22.330
he always has to overcome it.

00:05:22.829 --> 00:05:25.478
He always looks for solutions.

00:05:26.477 --> 00:05:29.741
And of course that led him
to open many doors.

00:05:30.048 --> 00:05:32.890
In 1988, I received a call
from Tomeu Payeras

00:05:32.966 --> 00:05:34.771
about restoring a painting.

00:05:34.848 --> 00:05:38.150
It was an oil painting
that measured 100 x 70 cm.

00:05:38.304 --> 00:05:41.760
It was in quite a bad state
due to humidity damage.

00:05:41.837 --> 00:05:44.256
Once the composition itself
was examined,

00:05:44.333 --> 00:05:47.674
it revealed
three visible layers of paint

00:05:47.827 --> 00:05:49.018
applied to the canvas.

00:05:49.133 --> 00:05:52.973
The first layer was very thin,
with virtually no texture.

00:05:53.126 --> 00:05:55.315
The second was quite textured.

00:05:55.392 --> 00:05:59.040
And the last layer,
the picture layer that we can see,

00:05:59.309 --> 00:06:03.034
has a different composition
from the underlying layers.

00:06:03.264 --> 00:06:04.877
So it could be said

00:06:04.954 --> 00:06:08.525
there were at least three
different paints on the same canvas.

00:06:08.717 --> 00:06:12.979
As the work was signed by Dalí,
or the name "Dalí" was on it,

00:06:13.440 --> 00:06:15.821
its authenticity
was always uncertain.

00:06:15.974 --> 00:06:17.702
While leafing through

00:06:17.779 --> 00:06:21.235
some of the interviews with Dalí

00:06:21.312 --> 00:06:24.730
in Unspeakable Confessions
by André Parinaud,

00:06:25.421 --> 00:06:29.107
I saw that Dalí gave a description

00:06:29.184 --> 00:06:30.989
of his "intrauterine paradise".

00:06:31.181 --> 00:06:36.826
So I just told Tomeu Payeras
that he could read it

00:06:36.941 --> 00:06:39.206
as a matter of interest.

00:06:39.667 --> 00:06:44.506
"In my mother's womb,
I already felt her anguish.

00:06:44.582 --> 00:06:47.501
To do so,
all I need is to close my eyes

00:06:47.501 --> 00:06:49.536
and I encounter once again

00:06:49.613 --> 00:06:52.646
the colours
of intrauterine Purgatory,

00:06:53.184 --> 00:06:56.294
the colours of Lucifer's fire,

00:06:56.371 --> 00:06:58.944
red, orange,

00:06:59.021 --> 00:07:01.670
yellow tinged with blue

00:07:01.747 --> 00:07:08.198
among viscous sperm
and phosphorescent egg white,

00:07:08.352 --> 00:07:12.461
in which I float like an angel
stripped of its gracefulness."

00:07:12.614 --> 00:07:15.763
The description Dalí made
of his intrauterine paradise

00:07:15.917 --> 00:07:18.451
is depicted in this painting.

00:07:19.258 --> 00:07:21.600
This encouraged me
to carry on investigating.

00:07:21.792 --> 00:07:24.250
Despite the fact that experts
like Santos Toroella

00:07:25.018 --> 00:07:27.821
did not regard it as a work
of Salvador Dalí,

00:07:27.898 --> 00:07:30.240
possibly because of the date "96",

00:08:25.997 --> 00:08:28.147
Tomeu carried on

00:08:28.301 --> 00:08:30.221
with his incessant work,

00:08:30.528 --> 00:08:33.254
aimed at proving the authorship
of the painting.

00:08:33.446 --> 00:08:35.866
And he sent

00:08:35.981 --> 00:08:38.861
the Gala-Dalí Foundation
in Figueres...

00:08:41.587 --> 00:08:44.774
a series of documents
that consisted of...

00:08:45.811 --> 00:08:48.538
a photocopy of the painting.

00:08:49.421 --> 00:08:53.530
He also sent a report drawn up
by the art restorer Sandalinas.

00:08:53.952 --> 00:08:54.950
In addition,

00:08:55.104 --> 00:08:57.792
he included a document
signed by himself

00:08:57.907 --> 00:09:00.710
in which he explained the reasons

00:09:00.941 --> 00:09:03.744
why he was completely convinced

00:09:04.013 --> 00:09:06.278
that this was a piece by Dalí.

00:09:16.224 --> 00:09:18.144
If cataloguing is requested
in Spain,

00:09:18.221 --> 00:09:22.752
it is made to the Dalí Foundation,
which has a specific commission.

00:09:22.867 --> 00:09:26.093
Clearly, there are more problems
if the work is unheard-of

00:09:26.170 --> 00:09:29.741
because there are no written
or visual records.

00:09:44.064 --> 00:09:45.677
I seem to remember

00:09:45.754 --> 00:09:48.058
that about six months
after sending

00:09:49.824 --> 00:09:52.589
all those documents
to the Foundation,

00:09:52.781 --> 00:09:55.354
Tomeu received a reply.

00:10:03.878 --> 00:10:05.414
"We regret to inform you

00:10:05.568 --> 00:10:09.869
that the commission members
do not have sufficient details

00:10:10.022 --> 00:10:11.981
to make a final positive assessment

00:10:12.058 --> 00:10:15.206
regarding the authenticity
of the painting."

00:10:15.667 --> 00:10:17.587
They didn't have enough details!

00:10:18.394 --> 00:10:19.891
All they had was a photo

00:10:20.083 --> 00:10:20.928
I sent them.

00:10:21.005 --> 00:10:23.232
They didn't want
to see the original.

00:10:23.386 --> 00:10:26.150
How can they have enough details
if they don't examine it?

00:10:26.726 --> 00:10:28.416
If all you have is a photo,

00:10:28.493 --> 00:10:32.870
I can tell you here and now,
don't bother coming.

00:10:32.986 --> 00:10:36.749
Don't spend money on hiring experts

00:10:36.864 --> 00:10:39.821
or in analysing whatever it is.

00:10:40.550 --> 00:10:42.086
You're wasting your money

00:10:42.662 --> 00:10:44.006
and your time, and mine.

00:10:44.275 --> 00:10:46.349
When a painting isn't catalogued

00:10:48.230 --> 00:10:49.728
and certified,

00:10:49.958 --> 00:10:53.875
the expert normally requests
to actually see it.

00:10:54.336 --> 00:10:57.293
You can never authenticate
a painting

00:10:57.446 --> 00:10:58.906
based on a photo.

00:10:59.328 --> 00:11:04.666
If a person knocks on my door
with a Miró painting

00:11:04.858 --> 00:11:07.238
and doesn't know
if it's genuine or not,

00:11:07.584 --> 00:11:09.466
they must immediately call

00:11:09.542 --> 00:11:11.539
either the Miró family
or ADOM in Paris.

00:11:11.731 --> 00:11:17.261
ADOM is the expert committee
on the works of Joan Miró.

00:11:17.606 --> 00:11:21.293
We automatically tell the person
to send us the painting

00:11:22.061 --> 00:11:23.674
and then we analyse it.

00:11:24.058 --> 00:11:26.093
After that,

00:11:26.861 --> 00:11:31.891
the seven members of ADOM
make a unanimous decision

00:11:32.774 --> 00:11:34.464
whether it is genuine
or a forgery.

00:11:49.325 --> 00:11:52.474
The Foundation's reply
really affected me.

00:11:53.741 --> 00:11:56.352
I wrapped up the painting
and stored it in my studio.

00:12:04.301 --> 00:12:07.450
I had serious health problems
in the '90s.

00:12:07.718 --> 00:12:09.062
Financial problems too.

00:12:09.638 --> 00:12:14.746
My salary as a biology teacher
wasn't enough to pay my debts.

00:12:15.437 --> 00:12:17.280
My health worsened

00:12:17.357 --> 00:12:18.854
and my hair turned grey.

00:12:19.661 --> 00:12:22.387
My building project in Pollença
ruined me.

00:12:23.078 --> 00:12:25.920
When I came here
I was absolutely broke.

00:12:26.189 --> 00:12:28.992
To top it off,
I had trouble with the house,

00:12:29.645 --> 00:12:32.410
court cases, problems...

00:12:33.178 --> 00:12:34.944
Everything got on top of me.

00:12:35.251 --> 00:12:36.864
He was granted the license.

00:12:36.941 --> 00:12:38.515
Tomeu went on to build...

00:12:38.784 --> 00:12:43.584
He built an extension onto the house
in line with the license.

00:12:44.198 --> 00:12:47.040
Later on, one of the neighbours

00:12:47.117 --> 00:12:49.459
took him to court.

00:12:50.150 --> 00:12:54.835
The final ruling
was unfavourable for Tomeu

00:12:54.912 --> 00:12:59.558
and he was forced to knock down
the extension he had built.

00:13:00.250 --> 00:13:01.786
Of course this situation,

00:13:02.093 --> 00:13:04.512
apart from causing him
financial problems,

00:13:04.589 --> 00:13:07.008
also caused him
serious health problems.

00:13:07.277 --> 00:13:12.307
Obviously, building a house
that might have cost twenty million

00:13:12.691 --> 00:13:14.995
and then being told to demolish it,

00:13:15.072 --> 00:13:17.837
which might cost another 10,
15 or 20 million,

00:13:17.990 --> 00:13:19.910
left him without a penny.

00:13:19.987 --> 00:13:21.446
He was left high and dry.

00:14:02.458 --> 00:14:06.182
Tomeu was in a bad way.
He was upset, nervous.

00:14:06.566 --> 00:14:11.174
Obviously, this meant
that for a quite a few years

00:14:13.709 --> 00:14:16.013
this situation made him put aside

00:14:16.781 --> 00:14:20.314
his research on the Dalí painting
and his efforts

00:14:20.467 --> 00:14:21.581
to confirm its authorship.

00:15:36.192 --> 00:15:38.342
Years went by and my health

00:15:38.458 --> 00:15:40.032
and general mood improved.

00:15:40.147 --> 00:15:42.221
So, I carried on investigating.

00:15:56.851 --> 00:15:58.694
I researched Salvador Dalí,

00:15:58.848 --> 00:16:01.152
I needed to get to know
this individual.

00:16:01.421 --> 00:16:02.918
I read his books,

00:16:03.072 --> 00:16:06.528
watched interviews with him,
studied his paintings carefully.

00:16:07.181 --> 00:16:09.946
I came across
a series of statements

00:16:10.368 --> 00:16:13.862
that would be very beneficial
to my research later on.

00:16:29.338 --> 00:16:30.720
The first one

00:16:31.334 --> 00:16:33.178
is what he says

00:16:33.370 --> 00:16:35.251
in his book Secret Life,

00:16:35.904 --> 00:16:39.053
when he talks
about his intrauterine memories,

00:16:39.398 --> 00:16:43.546
"I shall begin the story of my life
at its true beginning:

00:16:44.390 --> 00:16:46.579
my intrauterine life."

00:16:46.848 --> 00:16:48.960
With regard to the painting,

00:16:49.114 --> 00:16:53.069
in his book Diary of a Genius
he says, and I quote...

00:16:53.568 --> 00:16:56.678
He says...
I'll read it out word by word,

00:16:56.794 --> 00:16:57.907
"When very young,

00:16:58.752 --> 00:17:00.941
I composed a piece

00:17:01.133 --> 00:17:02.938
depicting angels."

00:17:03.821 --> 00:17:05.741
Later, he talks about his brother.

00:17:05.894 --> 00:17:10.310
"My brother died when he was seven,
three years before I was born."

00:17:10.810 --> 00:17:11.770
Impossible!

00:17:12.346 --> 00:17:14.496
His brother died

00:17:15.034 --> 00:17:17.069
before the age of two,

00:17:17.222 --> 00:17:20.256
nine months before
Salvador Dalí was born.

00:17:20.717 --> 00:17:25.440
By comparing it to other paintings
done by the artist,

00:17:25.939 --> 00:17:29.587
when you are convinced
and quite certain

00:17:29.818 --> 00:17:31.699
that the work is by the painter,

00:17:32.045 --> 00:17:34.810
you need
all the technical documentation

00:17:35.309 --> 00:17:38.419
so that nothing can question
that authorship.

00:17:39.226 --> 00:17:41.453
As I got back on my feet
financially,

00:17:41.645 --> 00:17:46.061
I was able to commission a series
of studies of the painting

00:17:46.598 --> 00:17:48.557
that I should've done long before.

00:17:48.787 --> 00:17:52.704
But for me, thousands of euros

00:17:52.819 --> 00:17:54.816
was an astronomical figure.

00:17:54.931 --> 00:17:57.581
-Two different layers underneath.
-Yes.

00:17:58.387 --> 00:18:01.306
When a bit was taken off from here,

00:18:01.421 --> 00:18:04.147
that ochre layer appeared

00:18:04.262 --> 00:18:05.606
with black strokes.

00:18:05.798 --> 00:18:07.488
-Exactly.
-I remember that.

00:18:07.680 --> 00:18:09.792
I still have the photos.

00:18:11.635 --> 00:18:13.094
That would be under here.

00:18:13.325 --> 00:18:16.896
We can use ultraviolet light to see
what's there. Although I doubt it.

00:18:17.126 --> 00:18:22.080
See where the sample was taken?
It seems they have...

00:18:22.157 --> 00:18:24.038
It's possible a bit was taken off.

00:18:24.154 --> 00:18:26.035
A small fragment...

00:18:26.112 --> 00:18:29.491
-It looks like it was taken here.
-It's very likely.

00:18:29.568 --> 00:18:31.450
In 2004, Tomeu contacted me again.

00:18:31.718 --> 00:18:33.984
He was interested
in analysing the painting.

00:18:34.061 --> 00:18:35.942
So an X-ray examination was made

00:18:36.019 --> 00:18:38.707
and the pigments were studied.

00:18:47.117 --> 00:18:50.266
The study was performed
at the Technical University

00:18:50.342 --> 00:18:52.032
using Raman spectroscopy.

00:18:52.608 --> 00:18:55.219
This particle is extremely clean.

00:18:55.411 --> 00:18:58.253
-I'd start with this one.
-Let's do that, then.

00:18:58.445 --> 00:19:00.518
Four pigments were identified.

00:19:00.634 --> 00:19:02.976
A yellow Hansa I,

00:19:03.629 --> 00:19:05.626
patented in 1909.

00:19:06.278 --> 00:19:10.157
An artificial ultramarine blue
used since the 18th century.

00:19:10.426 --> 00:19:11.539
And also...

00:19:13.075 --> 00:19:15.341
a zinc white pigment,
also widely used

00:19:15.456 --> 00:19:18.528
in the 20th century.
And an organic red,

00:19:18.758 --> 00:19:20.141
which is hard to identify.

00:19:20.448 --> 00:19:22.829
The strokes are very similar.

00:19:23.059 --> 00:19:26.131
-Fantastic.
-I think we've found it.

00:19:26.669 --> 00:19:30.394
If one of the pigments
was patented in 1899,

00:19:30.509 --> 00:19:34.426
it wouldn't have reached artists
until quite a few years later.

00:19:34.502 --> 00:19:39.341
The oldest date we can establish
for yellow Hansa is perhaps 1909,

00:19:39.840 --> 00:19:41.299
but not before then.

00:19:41.990 --> 00:19:45.101
Fair enough,
it was marketed after 1909.

00:19:45.178 --> 00:19:47.098
If that is the case,

00:19:47.251 --> 00:19:50.746
that particular pigment
can be traced back to 1909.

00:19:51.360 --> 00:19:52.742
It may have been added later.

00:19:53.395 --> 00:19:56.582
Or it may have been
wrongly identified.

00:19:56.698 --> 00:20:01.536
This painting was not repainted
or touched up. It was intact.

00:20:01.958 --> 00:20:03.994
Nothing had been added to it.

00:20:04.186 --> 00:20:05.338
What that means

00:20:06.029 --> 00:20:08.947
is that a pigment
manufactured in 1909

00:20:09.216 --> 00:20:12.173
could never have been used

00:20:12.326 --> 00:20:17.472
in a painting
supposedly painted in 1896.

00:20:18.778 --> 00:20:19.891
Consequently,

00:20:20.698 --> 00:20:23.347
the specialists' opinion

00:20:24.077 --> 00:20:28.032
that this was painted in 1896,

00:20:28.186 --> 00:20:30.874
is completely false and incorrect.

00:20:31.526 --> 00:20:35.635
Tomeu was greatly encouraged
by the pigment results.

00:20:37.824 --> 00:20:39.936
He came to my house and said,

00:20:42.010 --> 00:20:44.352
"I'll try and get in touch...

00:20:46.118 --> 00:20:47.347
with Mr. Descharnes."

00:21:03.821 --> 00:21:06.509
Robert Descharnes
was very close friends

00:21:06.662 --> 00:21:08.698
with Salvador Dalí
and his wife Gala.

00:21:08.851 --> 00:21:11.424
He became Dalí's...

00:21:11.731 --> 00:21:13.574
personal secretary.

00:21:16.147 --> 00:21:19.258
He was concerned
with combating Dalí forgeries.

00:21:19.603 --> 00:21:21.254
There were a lot at the time.

00:21:21.331 --> 00:21:24.941
He also set up a company
called Demart Pro Arte

00:21:25.325 --> 00:21:28.550
that aimed to lead that battle.

00:21:28.704 --> 00:21:32.467
For many years
it was Robert Descharnes

00:21:32.621 --> 00:21:34.694
who certified Dalí's paintings.

00:21:35.194 --> 00:21:38.995
He authored
the authoritative catalogue

00:21:39.110 --> 00:21:41.069
on Dalí's painted oeuvre.

00:21:41.376 --> 00:21:44.717
It is still
the main reference point

00:21:44.870 --> 00:21:48.557
for the entire art market
and the general public.

00:21:49.094 --> 00:21:52.435
He is an expert on Dalí's work.
Not only that,

00:21:52.512 --> 00:21:54.662
as he began certifying his work,

00:21:54.701 --> 00:21:58.349
many private clients turned to him
with photos of paintings.

00:21:58.541 --> 00:22:00.422
He built up an extensive archive.

00:22:00.538 --> 00:22:04.915
This explains why auction houses
such as Christie's or Sotheby's

00:22:05.299 --> 00:22:08.102
turned to him
to certify their paintings.

00:22:08.218 --> 00:22:09.638
I passed on

00:22:09.754 --> 00:22:12.480
all my contacts to a colleague
who was familiar

00:22:12.672 --> 00:22:14.054
with the art world.

00:22:14.554 --> 00:22:19.661
Because of health issues
I avoided getting involved.

00:22:19.776 --> 00:22:21.427
I called him every six months.

00:22:21.850 --> 00:22:27.226
We didn't know if Descharnes
was receiving the information.

00:22:29.146 --> 00:22:31.450
Eventually, in 2012,

00:22:31.757 --> 00:22:34.291
I decided
to take charge of the matter.

00:22:34.637 --> 00:22:35.981
I then realised

00:22:36.365 --> 00:22:38.246
that in my collection of paintings,

00:22:38.438 --> 00:22:42.432
I still had a drawing
that had been certified,

00:22:42.854 --> 00:22:43.891
a drawing by Dalí,

00:22:44.314 --> 00:22:46.656
with a certificate issued
by Descharnes.

00:22:47.270 --> 00:22:49.075
The solution to my problem

00:22:50.112 --> 00:22:52.493
was sitting a few metres
away from me.

00:22:53.299 --> 00:22:54.374
So I thought,

00:22:54.950 --> 00:22:58.752
"I'll have a look
in one of these files,

00:22:59.213 --> 00:23:00.595
I don't remember where,

00:23:01.594 --> 00:23:04.397
and see if I can find
Descharnes' certification.

00:23:05.664 --> 00:23:09.734
His address might be on it."

00:23:57.466 --> 00:24:00.346
Bartolomeu Payeras arrived

00:24:01.344 --> 00:24:03.840
in Saint Pierre des Corps.
I went to pick him up.

00:24:04.301 --> 00:24:07.526
Then I took him
to my father's house

00:24:08.486 --> 00:24:11.021
to introduce him
and show him the painting.

00:24:12.058 --> 00:24:13.939
We looked at it very carefully.

00:24:14.438 --> 00:24:15.667
And...

00:24:17.050 --> 00:24:18.509
Unlike...

00:24:19.622 --> 00:24:23.770
other people who he had showed
the canvas to,

00:24:24.000 --> 00:24:25.498
we were not...

00:24:26.189 --> 00:24:28.493
immediately bowled over.

00:24:29.606 --> 00:24:31.373
Initially, we were put off

00:24:31.718 --> 00:24:33.677
by the date that appears on it.

00:24:36.595 --> 00:24:41.088
Let's see this inscription,
which is very enigmatic.

00:24:45.850 --> 00:24:48.576
The inscription was indeed made
using an ink pen.

00:24:48.960 --> 00:24:50.534
It's highly unusual,

00:24:51.571 --> 00:24:54.259
but it is a dedication,

00:24:54.451 --> 00:24:55.718
a sort of dedication.

00:24:58.752 --> 00:25:00.019
We said it is possible.

00:25:01.517 --> 00:25:02.592
It is possible.

00:25:03.821 --> 00:25:05.050
We didn't reject it.

00:25:20.064 --> 00:25:21.024
The price

00:25:21.101 --> 00:25:23.635
of a Picasso, a Miró or a Dalí

00:25:23.789 --> 00:25:25.018
at an art auction

00:25:25.286 --> 00:25:27.552
at Sotheby's in London, for example,

00:25:27.744 --> 00:25:30.739
can fetch as much as
thirty million euros.

00:25:38.112 --> 00:25:42.182
We set a world auction record
for a painting by Dalí

00:25:42.528 --> 00:25:44.102
in 2011.

00:25:44.486 --> 00:25:46.714
It was for a portrait
of Paul Eluard,

00:25:46.829 --> 00:25:49.171
that sold
for twenty-one million dollars.

00:26:02.381 --> 00:26:06.413
What draws our attention most
is the person playing the lyre.

00:26:07.411 --> 00:26:11.251
It's not clear if this is a shell,
but it could easily be one.

00:26:11.981 --> 00:26:14.861
This character
is in a sort of ball of fire,

00:26:15.168 --> 00:26:17.472
playing the harp which,
as we will see,

00:26:17.741 --> 00:26:20.544
is Dalí's favourite instrument.

00:26:25.728 --> 00:26:29.798
That enigmatic dedication
still had to be deciphered.

00:26:30.221 --> 00:26:31.872
Thank you for your time.

00:26:32.026 --> 00:26:33.830
My pleasure.
We'll be in touch.

00:27:01.632 --> 00:27:06.048
After talking
to Nicolas and Robert Descharnes,

00:27:06.278 --> 00:27:10.195
we both agreed to find out more
about this painting.

00:27:10.656 --> 00:27:13.075
That was when I started
investigating.

00:27:13.152 --> 00:27:17.491
First of all, we had to clear up
what the date 27-9-96 meant.

00:27:18.720 --> 00:27:20.064
It's 27-9-96...

00:27:25.517 --> 00:27:28.666
I began mulling over
two things Dalí said

00:27:28.781 --> 00:27:30.701
and that had always obsessed me.

00:27:31.430 --> 00:27:35.501
"I decided to resemble
my dead brother.

00:27:35.770 --> 00:27:39.149
As if I were his mirror image.

00:27:39.379 --> 00:27:45.101
My brother died
when he was seven years old.

00:27:45.830 --> 00:27:49.747
Three years before I was born."

00:27:50.630 --> 00:27:54.662
Since Dalí referred to seven,
his brother's age,

00:27:54.778 --> 00:27:58.694
and he wanted to be his double,
I used the same technique.

00:27:59.501 --> 00:28:03.840
I took the date 11-5-04,
the year he was born,

00:28:04.109 --> 00:28:06.374
and subtracted seven years.

00:28:06.566 --> 00:28:11.174
That took me to 11-5-1897.

00:28:11.366 --> 00:28:16.474
To find out if there had been
an "intrauterine birth",

00:28:16.550 --> 00:28:20.890
he talks about his intrauterine
paradise and life,

00:28:21.581 --> 00:28:24.422
I thought he must have had
an intrauterine birth.

00:28:24.499 --> 00:28:26.189
So I took away nine months

00:28:26.266 --> 00:28:30.259
from 11-5-97,

00:28:30.874 --> 00:28:36.019
and that took me
to August 11, 1896.

00:28:37.286 --> 00:28:41.434
I thought that this date,
August 11, 1896,

00:28:41.549 --> 00:28:46.080
was the day his father's sperm
and his mother's egg...

00:28:46.464 --> 00:28:49.421
The sperm and the egg
joined together.

00:28:50.112 --> 00:28:53.568
Obviously, this wasn't the date
of his intrauterine birth.

00:28:54.106 --> 00:28:56.870
As a former biologist,

00:28:57.024 --> 00:28:59.904
it was quite easy for me
to understand:

00:29:00.019 --> 00:29:03.667
if we added a month and a half,

00:29:04.090 --> 00:29:06.778
which makes roughly six weeks,

00:29:07.123 --> 00:29:10.157
to when the egg was fertilised,
it would give me

00:29:10.541 --> 00:29:14.611
the date on which the new being

00:29:14.726 --> 00:29:15.686
is formed.

00:29:15.878 --> 00:29:18.758
By that I mean
the embryo, the human foetus.

00:29:19.373 --> 00:29:20.947
The result

00:29:21.408 --> 00:29:25.939
is September 27, 1896.

00:29:26.054 --> 00:29:29.011
The date
on the bottom right-hand corner.

00:29:29.165 --> 00:29:32.160
So the date 27-9-96

00:29:32.352 --> 00:29:37.190
is the pictorial representation
of Salvador Dalí's birth

00:29:37.498 --> 00:29:40.531
and the date
of his intrauterine birth.

00:29:40.915 --> 00:29:43.296
Not of Salvador Dalí,
but the "divine Dalí."

00:29:43.795 --> 00:29:47.021
The "divine Dalí" was a character
created by Salvador Dalí.

00:29:47.251 --> 00:29:49.670
He created him in 1921.

00:29:51.130 --> 00:29:52.704
Who is this character?

00:29:53.011 --> 00:29:56.506
The antithesis
of the earthly character,

00:29:56.966 --> 00:29:58.272
the common character,

00:29:58.349 --> 00:30:01.766
a person who feared death,

00:30:02.074 --> 00:30:03.686
who had sexuality problems,

00:30:04.301 --> 00:30:06.259
someone who was shy, etc.

00:30:06.336 --> 00:30:09.101
So he created this new character

00:30:09.869 --> 00:30:11.827
and played the role daily.

00:30:12.518 --> 00:30:13.824
What this means

00:30:14.515 --> 00:30:16.704
is that it confuses the public

00:30:16.781 --> 00:30:19.738
who think there is only one Dalí,
when there are two.

00:30:19.930 --> 00:30:22.656
One day Dalí was sitting in a bar

00:30:22.771 --> 00:30:24.461
when journalists turned up.

00:30:24.614 --> 00:30:27.610
A friend warned him
that journalists were coming.

00:30:27.686 --> 00:30:31.219
He replied, "Then I'd better put on
my Salvador Dalí disguise."

00:30:31.488 --> 00:30:32.947
A group of hooded men,

00:30:33.062 --> 00:30:36.134
under the gaze of the angel,
carry the Pythagoras Cube,

00:30:36.288 --> 00:30:39.130
full of symmetrical inscriptions,
through the streets of Rome.

00:30:39.245 --> 00:30:41.894
At night they enter
the Pallavicini gardens

00:30:42.010 --> 00:30:43.430
on the Quirinale.

00:30:44.966 --> 00:30:48.000
Among the eager journalists,
a familiar moustache.

00:30:48.154 --> 00:30:51.379
One moustache attracts another
and the artist appears. Dalí!

00:30:51.571 --> 00:30:54.490
Searching for the mathematical
centre of the pavilion,

00:30:55.181 --> 00:30:59.059
a symbol of rebirth he compares
to revolution and reaction.

00:30:59.558 --> 00:31:02.016
He explains the Cube
in surrealist Latin.

00:31:08.621 --> 00:31:10.195
When I discovered this

00:31:10.656 --> 00:31:12.538
I was very excited to begin with.

00:31:13.843 --> 00:31:15.725
Later, I felt tremendously alone.

00:31:16.454 --> 00:31:18.912
Because I was the only person
in the world,

00:31:19.488 --> 00:31:20.986
after many years,

00:31:21.254 --> 00:31:23.674
who had been privileged enough

00:31:23.750 --> 00:31:28.013
to gaze at Salvador Dalí's
intrauterine birth alone.

00:31:28.320 --> 00:31:30.970
A spectacle for just one person.

00:31:31.469 --> 00:31:35.194
But I couldn't explain my discovery
to my neighbour or a professor.

00:31:36.038 --> 00:31:40.877
I would need more scientific proof
to defend those claims.

00:31:45.830 --> 00:31:49.824
The purpose of his visit
was to ask me

00:31:49.978 --> 00:31:53.894
if I could talk to him about
the personality of the individual

00:31:54.509 --> 00:31:55.968
who wrote the inscription.

00:31:56.390 --> 00:31:58.003
I asked why he wanted to know

00:31:58.157 --> 00:32:01.382
about the personality
of the person who wrote it.

00:32:02.342 --> 00:32:03.456
Isn't it more logical

00:32:03.610 --> 00:32:04.877
to find out who wrote it?

00:32:05.952 --> 00:32:07.181
He was very surprised.

00:32:07.987 --> 00:32:09.677
"Is that possible?"

00:32:09.869 --> 00:32:11.251
It's wonderful,

00:32:11.789 --> 00:32:14.784
but risky.
But I wanted to risk it

00:32:15.130 --> 00:32:18.432
and find out
and prove scientifically

00:32:18.547 --> 00:32:21.312
who wrote this dedication.

00:32:35.059 --> 00:32:36.672
Analysing the painting

00:32:37.440 --> 00:32:40.474
was quite a surprise

00:32:40.781 --> 00:32:44.083
because there was a dedication
that wasn't clearly legible.

00:32:45.466 --> 00:32:49.267
It was legible, but some parts
were rather hard to decipher.

00:32:49.421 --> 00:32:51.226
The signature was very faint.

00:32:51.302 --> 00:32:55.181
By using chromatic luminescence,
however, we were able to show

00:32:55.718 --> 00:32:59.866
a luminescent representation,
via colour fluorescence,

00:33:00.096 --> 00:33:02.093
of the entire dedication

00:33:02.246 --> 00:33:03.130
and the signature.

00:33:03.206 --> 00:33:05.818
We were able to identify it
as being from the '20s.

00:33:06.317 --> 00:33:09.158
The style of writing
was similar to that period.

00:33:09.312 --> 00:33:12.538
We felt a lot more at ease

00:33:12.653 --> 00:33:17.184
when we received the study
carried out by Mr. Venzal,

00:33:17.798 --> 00:33:19.450
who works for Interpol.

00:33:20.755 --> 00:33:23.251
He formally acknowledged

00:33:24.019 --> 00:33:27.782
that the writing was
by Salvador Dalí from the 1920s.

00:33:27.898 --> 00:33:29.395
This was very positive.

00:33:30.125 --> 00:33:31.584
One time

00:33:31.776 --> 00:33:36.154
I wrote the word "revolution"
with four spelling mistakes.

00:33:36.806 --> 00:33:40.301
I wrote two r's at the beginning.

00:33:40.454 --> 00:33:43.411
Then I wrote a b instead of a v.

00:33:43.757 --> 00:33:45.062
In the middle

00:33:45.331 --> 00:33:49.517
I felt I had to pause a little,
so I included an h.

00:33:49.747 --> 00:33:51.206
I ended up putting a t.

00:33:51.475 --> 00:33:54.010
My father got into bed,
desperate, saying,

00:33:54.317 --> 00:33:56.621
"Whatever happens,

00:33:56.736 --> 00:33:59.309
this lad will die
covered in lice."

00:33:59.731 --> 00:34:02.381
As suspected,
two types of ink were used.

00:34:02.726 --> 00:34:05.069
Using chromatic luminescence

00:34:05.338 --> 00:34:06.874
we've revealed

00:34:07.066 --> 00:34:10.176
that the same black ink pen
was used

00:34:10.330 --> 00:34:12.557
to write the dedication
and the signature.

00:34:12.672 --> 00:34:14.093
It's seen in both images.

00:34:14.515 --> 00:34:17.894
Then it was corrected using
a second writing tool, also black.

00:34:18.125 --> 00:34:20.237
The spectral response is different.

00:34:20.352 --> 00:34:22.118
Using chromatic luminescence

00:34:22.195 --> 00:34:26.381
we distinguished two types
of black in the dedication.

00:34:26.496 --> 00:34:28.339
Two types of black ink.

00:34:28.493 --> 00:34:31.872
We detected a spelling mistake.

00:34:32.294 --> 00:34:36.941
This was normal in Dalí.
He mixed up his b's and his v's.

00:34:38.438 --> 00:34:39.936
The correction was made...

00:34:40.474 --> 00:34:43.354
When you read the dedication,

00:34:43.930 --> 00:34:47.040
it has been corrected.
The mistake isn't there.

00:34:47.309 --> 00:34:49.920
If the handwriting expert,
who determines

00:34:50.458 --> 00:34:54.144
whether the writing
is similar or not,

00:34:54.221 --> 00:34:58.406
and he has sufficient evidence
to support that,

00:34:58.714 --> 00:35:03.130
says this is a typical spelling
mistake made by another person

00:35:03.706 --> 00:35:05.779
when this particular person

00:35:06.701 --> 00:35:09.619
made all sorts of spelling mistakes,

00:35:09.888 --> 00:35:14.074
I think this is an abuse
of his role.

00:35:14.150 --> 00:35:17.222
I also believe
it is not very professional.

00:35:17.645 --> 00:35:19.258
In view of the above,

00:35:19.334 --> 00:35:22.944
and as established
in this expert forensic report,

00:35:23.213 --> 00:35:27.782
the text and signature
on the bottom right-hand side

00:35:27.859 --> 00:35:29.818
of the canvas that was analysed,

00:35:29.894 --> 00:35:33.542
belong to and were handwritten

00:35:33.734 --> 00:35:35.501
by the artist Salvador Dalí.

00:35:36.115 --> 00:35:37.267
So...

00:35:38.458 --> 00:35:40.800
if the writing
and signature are genuine,

00:35:41.376 --> 00:35:44.640
the spelling mistakes
are typical of Dalí,

00:35:45.101 --> 00:35:47.174
these factors,
for any other painter,

00:35:47.635 --> 00:35:50.016
would be proof of its authenticity.

00:35:50.630 --> 00:35:51.898
But in the case of Dalí

00:35:52.666 --> 00:35:54.739
you're guilty until proven innocent.

00:35:54.970 --> 00:35:58.771
In the subsequent study
performed by Bartolomeu Payeras,

00:36:00.154 --> 00:36:04.646
there are other positive factors,
particularly the date

00:36:05.261 --> 00:36:06.259
and numerology.

00:36:06.874 --> 00:36:09.101
He'll explain this to you,

00:36:09.408 --> 00:36:11.136
but it's another positive factor.

00:36:18.701 --> 00:36:19.891
BIRTH

00:36:30.259 --> 00:36:32.256
When I discovered the meaning

00:36:32.333 --> 00:36:35.904
of the date September 27, '96,
and September

00:36:36.019 --> 00:36:37.670
is IX in Roman numerals,

00:36:37.978 --> 00:36:41.510
I realised that this held the key

00:36:42.086 --> 00:36:44.160
to Dalí's numerology.

00:36:44.467 --> 00:36:47.501
Dalí wanted to emulate
Durero or Da Vinci.

00:36:48.000 --> 00:36:50.381
He endeavoured to hide

00:36:50.496 --> 00:36:52.070
his secrets in the painting.

00:36:52.147 --> 00:36:54.451
And he did this using numerology.

00:36:54.490 --> 00:36:56.909
In many of his paintings
there are numbers

00:36:57.024 --> 00:36:58.291
that are depicted.

00:36:58.714 --> 00:37:01.670
Obviously, many people
have no idea what they mean.

00:37:02.438 --> 00:37:03.974
But each of these numbers

00:37:04.128 --> 00:37:06.010
has its own meaning.

00:37:06.778 --> 00:37:09.197
This is where
the message is hidden.

00:37:09.658 --> 00:37:13.459
When I paint symbols,
they are so important

00:37:13.574 --> 00:37:15.686
it will take centuries
to understand them.

00:37:24.672 --> 00:37:27.437
Statements by Dalí
go through my mind.

00:37:28.397 --> 00:37:31.200
Numbers and letters
in his paintings.

00:37:32.352 --> 00:37:34.157
I realised they are all linked.

00:37:34.925 --> 00:37:37.613
The number seven appears

00:37:37.805 --> 00:37:38.765
in Las Meninas.

00:37:38.880 --> 00:37:41.261
Dalí was inspired
by this Velázquez painting.

00:37:41.798 --> 00:37:44.141
He created a work
adding sevens and eights.

00:37:46.138 --> 00:37:48.595
He replaced the characters
with numbers.

00:37:49.670 --> 00:37:52.896
And Tomeu is right,
seven was significant to Dalí.

00:37:53.472 --> 00:37:55.661
Another fantastic thing,

00:37:56.083 --> 00:37:58.464
something no one had done before:

00:37:58.541 --> 00:38:01.152
he studied the numbers
on the melting clocks.

00:38:01.997 --> 00:38:04.954
Dalí was very talented as a writer.

00:38:05.453 --> 00:38:08.986
Almost as talented
as he was as a painter.

00:38:09.754 --> 00:38:12.480
But somehow he knew

00:38:12.749 --> 00:38:16.589
how to encode
and encrypt certain information.

00:38:16.781 --> 00:38:19.661
Tomeu was able to identify
this information.

00:38:19.968 --> 00:38:22.848
His attempt at deciphering them

00:38:23.386 --> 00:38:25.690
is truly exciting.

00:38:26.074 --> 00:38:28.915
Each number
had a meaning for Dalí.

00:38:29.146 --> 00:38:32.026
Three represented
his date of birth.

00:38:32.448 --> 00:38:35.366
Four was the birth of his brother.

00:38:36.826 --> 00:38:39.782
When you add up three and four
you get seven,

00:38:40.013 --> 00:38:41.626
which is the "divine Dalí."

00:38:41.894 --> 00:38:45.850
For example, if we see
four minutes to seven

00:38:46.080 --> 00:38:47.539
on a Dalí clock,

00:38:47.885 --> 00:38:49.498
we subtract four from seven.

00:38:49.997 --> 00:38:52.378
Seven minus four give us three.

00:38:52.992 --> 00:38:55.488
That is the time of his birth.

00:38:55.680 --> 00:38:56.794
Three.

00:38:58.291 --> 00:39:01.018
This is a way of depicting...

00:39:02.285 --> 00:39:05.549
a hidden message.
We look, but we don't see it.

00:39:06.355 --> 00:39:09.696
The study shows that six
is a negative hour for Dalí.

00:39:10.387 --> 00:39:11.693
It is just before,

00:39:12.154 --> 00:39:15.226
four or six minutes to six

00:39:15.610 --> 00:39:18.182
and it has to reach seven.

00:39:19.258 --> 00:39:21.754
His aim is to reach seven,
the "divine Dalí."

00:39:22.214 --> 00:39:25.133
To me it sounds like
an old wives' tale.

00:39:25.478 --> 00:39:28.704
There is a lot of adding
and subtracting,

00:39:28.973 --> 00:39:32.237
but you can do whatever magic
you want using numbers.

00:39:32.352 --> 00:39:35.846
Do you think he has discovered
the Dalí Code?

00:39:36.000 --> 00:39:36.960
Yes.

00:39:39.226 --> 00:39:40.224
No doubt.

00:39:48.595 --> 00:39:50.016
To top it off,

00:39:50.093 --> 00:39:52.474
I then decided to write
a book about it.

00:39:52.858 --> 00:39:57.389
I needed to explain to everyone,
even the sceptics,

00:39:58.118 --> 00:39:59.808
everything I had discovered

00:40:00.000 --> 00:40:03.955
and all the arguments that showed
this is a Dalí painting.

00:40:08.640 --> 00:40:10.214
We knew he was working a lot.

00:40:10.406 --> 00:40:11.750
He was doing 12, 14,

00:40:11.866 --> 00:40:13.632
or 16 hours of work a day.

00:40:13.786 --> 00:40:16.435
We asked him
why he was working so much.

00:40:16.550 --> 00:40:18.970
You're retired now.
What are you up to?

00:40:19.546 --> 00:40:21.504
I'm working on something great!

00:40:22.810 --> 00:40:24.038
"Tomeu," I said,

00:40:24.422 --> 00:40:25.498
"Yes, yes.

00:40:25.690 --> 00:40:27.917
It will be great.
Mind-blowing!"

00:40:36.902 --> 00:40:38.669
A fine mess!

00:40:39.053 --> 00:40:42.586
Because I'm not an editor
or a writer.

00:40:42.739 --> 00:40:46.464
I don't know how
you sell a book or write one.

00:40:47.424 --> 00:40:49.229
But I felt the need to do it.

00:40:49.651 --> 00:40:52.954
After reading the draft,
underlining things,

00:40:53.069 --> 00:40:56.064
and noting down
the questions it raised for me,

00:40:56.141 --> 00:40:59.674
Tomeu and I met up
to discuss the book

00:40:59.827 --> 00:41:02.899
and talk about his research,
his thoughts.

00:41:03.053 --> 00:41:05.357
And it was just then

00:41:05.510 --> 00:41:08.928
that I suggested to him
that perhaps the dedication

00:41:09.197 --> 00:41:12.154
was attempting to show us

00:41:12.269 --> 00:41:15.955
that Dalí had dedicated
the painting to himself.

00:41:16.454 --> 00:41:20.371
Because Dalí did not appear
when Salvador Dalí was born,

00:41:20.486 --> 00:41:21.754
but long before that.

00:41:21.984 --> 00:41:24.634
The true Dalí, the "divine Dalí",

00:41:24.749 --> 00:41:28.704
was the teacher, the maestro,
of the Dalí we all know.

00:41:28.781 --> 00:41:29.741
In the end

00:41:29.856 --> 00:41:30.816
it all added up.

00:41:30.931 --> 00:41:34.387
After 24 years
of falling into Dalí's trap,

00:41:34.464 --> 00:41:37.421
believing the painting
was dedicated to his teacher,

00:41:38.381 --> 00:41:40.531
it turns out that Dalí the painter

00:41:40.877 --> 00:41:42.221
dedicates the painting

00:41:42.989 --> 00:41:46.061
to his teacher, the "divine Dalí."

00:41:46.330 --> 00:41:48.672
It was the teacher who was born

00:41:48.826 --> 00:41:51.475
on September 27, 1896.

00:41:51.629 --> 00:41:56.659
Dalí was the one born in 1904
on Monturiol St. in Figueres.

00:41:58.426 --> 00:42:02.496
"Divine Dalí" was the character
Salvador Dalí created

00:42:02.611 --> 00:42:04.800
and whose birth was intrauterine

00:42:04.877 --> 00:42:07.142
from an alchemical egg on fire

00:42:07.219 --> 00:42:10.099
on September 27, 1896.

00:42:10.368 --> 00:42:13.555
You know
that in many of his paintings

00:42:13.670 --> 00:42:15.475
he uses numbers,
like in Las Meninas,

00:42:15.706 --> 00:42:17.664
like in Battle of Tetuan

00:42:17.741 --> 00:42:20.006
or Little Ashes.

00:42:20.621 --> 00:42:24.614
Numbers are used
in many of Dalí's works.

00:42:24.768 --> 00:42:27.226
I started searching
and found that Dalí

00:42:27.418 --> 00:42:30.451
used numbers, numerology.

00:42:30.758 --> 00:42:32.870
I wasn't just writing a book.

00:42:33.370 --> 00:42:35.942
Since I didn't have a secretary,

00:42:36.211 --> 00:42:38.131
I had to organise a launch,

00:42:38.707 --> 00:42:42.739
get in touch with the presenters,
the media,

00:42:43.200 --> 00:42:47.501
the printing house,
the transport company...

00:42:47.693 --> 00:42:52.493
What I mean is this job...
was too much for me.

00:42:52.838 --> 00:42:56.909
We might actually present it
without the book or e-book.

00:42:57.062 --> 00:42:58.714
IB3 television?

00:42:59.290 --> 00:43:01.670
Exactly, exactly.
Go ahead.

00:43:02.093 --> 00:43:05.587
A photo of Dalí would go here

00:43:06.278 --> 00:43:07.661
and another one here.

00:43:10.925 --> 00:43:13.536
My name is Tomeu L'Amo

00:43:13.690 --> 00:43:15.994
and I'm at your entire disposal.

00:43:23.712 --> 00:43:24.941
-Hello.
-Hello.

00:43:26.285 --> 00:43:28.819
I'll be talking over here

00:43:29.088 --> 00:43:31.699
so Descharnes needs to know
what I'm saying.

00:43:39.571 --> 00:43:42.067
Right now you're talking
on the phone

00:43:42.144 --> 00:43:45.293
to two different people in one,
as I say in my book.

00:43:45.370 --> 00:43:47.520
The book was written by two people.

00:43:47.635 --> 00:43:50.477
Bartolomeu Payeras,
with his scientific background,

00:43:51.130 --> 00:43:53.894
and Tomeu L’Amo,
with his artistic point of view.

00:43:53.971 --> 00:43:58.502
I've been painting, writing,
making sculptures and videos

00:43:58.656 --> 00:44:00.269
for the past 40 years.

00:44:00.461 --> 00:44:03.149
The left side of my brain
is rational

00:44:03.302 --> 00:44:06.874
and the right side is totally
irrational, illogical and intuitive.

00:44:06.989 --> 00:44:10.752
As a teacher, a schoolteacher,

00:44:10.867 --> 00:44:12.518
he is Tomeu Payeras.

00:44:13.210 --> 00:44:14.861
When he comes here,

00:44:15.437 --> 00:44:17.779
he leaves that character behind
at school

00:44:17.894 --> 00:44:19.699
and becomes Tomeu L'Amo.

00:44:19.930 --> 00:44:21.581
He's the other person here.

00:44:21.850 --> 00:44:25.114
This other person is multi-faceted.

00:44:25.536 --> 00:44:27.418
Tomeu L'Amo is not just

00:44:27.571 --> 00:44:30.144
one single person.
The person he becomes

00:44:30.221 --> 00:44:33.792
depends on the activity
he's carrying out at the time.

00:44:54.221 --> 00:44:56.333
I'm native to the archipelago

00:44:57.062 --> 00:44:58.406
of the Balearic Islands.

00:44:59.136 --> 00:45:03.091
I go out at midday
walking among the scrubland,

00:45:03.667 --> 00:45:05.434
avoiding civilisation.

00:45:06.010 --> 00:45:09.274
I come to this particular spot.

00:45:09.389 --> 00:45:12.269
It's actually
one of the last beaches

00:45:12.730 --> 00:45:14.419
"far from the madding crowd"

00:45:14.534 --> 00:45:16.186
and the cameras.

00:45:17.261 --> 00:45:22.406
And this is where I delve into
my make-believe world of jungles

00:45:23.136 --> 00:45:26.438
and my secret forest hideaways.

00:45:37.498 --> 00:45:41.338
The water coming off the roof
had to go down an underground drain.

00:45:41.914 --> 00:45:45.062
I got to thinking,
"Let's design it in such a way

00:45:45.408 --> 00:45:49.862
that the water keeps
Tomeu L'Amo company for a while."

00:45:50.016 --> 00:45:53.741
When the water drains off,
it collects here for a few days

00:45:53.818 --> 00:45:56.544
until the level rises
and it goes down the drain.

00:45:56.659 --> 00:46:00.768
I want the water
to be full of plants and animals.

00:46:01.190 --> 00:46:03.226
A frog, a turtle...

00:46:03.686 --> 00:46:08.179
I think he feels comfortable
with the idea of duality.

00:46:08.986 --> 00:46:11.597
It's a way of trying to understand

00:46:11.750 --> 00:46:16.435
how an individual is capable
of living several parallel lives.

00:46:16.550 --> 00:46:19.853
There is no one quite like Dalí
as an object of study

00:46:20.275 --> 00:46:22.157
for someone interested
in dual identity

00:46:22.656 --> 00:46:26.496
to commit himself to and embark on
such a remarkable task,

00:46:26.765 --> 00:46:29.030
which is what Tomeu
has managed to do.

00:46:42.470 --> 00:46:44.467
What I do at midday...

00:46:46.118 --> 00:46:48.576
is take a 20-minute break.

00:46:50.266 --> 00:46:52.877
If it's summertime,
I go for a swim.

00:46:53.107 --> 00:46:55.142
In the winter, I go for a walk.

00:46:56.525 --> 00:47:02.861
While I'm swimming I take the time
to feed my good friends the fish.

00:47:03.859 --> 00:47:05.203
They're waiting for me!

00:47:19.757 --> 00:47:21.869
He once told me
he'd invented a new sport.

00:47:22.022 --> 00:47:25.901
He said he got in the water
at Ca los Cans

00:47:26.016 --> 00:47:28.128
and started walking on the seabed.

00:47:28.320 --> 00:47:30.010
Taking a stroll under the sea.

00:47:35.194 --> 00:47:36.691
His game on the beach?

00:47:37.152 --> 00:47:38.918
The game where he...

00:47:39.456 --> 00:47:42.298
picks up a big rock?
Tomeu does that sort of stuff.

00:47:46.598 --> 00:47:50.093
He's creative,
creative at all levels.

00:47:51.744 --> 00:47:55.814
I don't know what these are.
Strange objects that turn up here.

00:47:56.774 --> 00:48:00.538
They're like
a tribute to the breeze.

00:48:02.458 --> 00:48:05.914
They have a life of their own,
the breeze is cooling.

00:48:06.566 --> 00:48:08.218
They move and chase me!

00:48:39.590 --> 00:48:41.318
There is a full moon tonight.

00:48:42.010 --> 00:48:45.120
And every year
when there's a full moon in August

00:48:45.274 --> 00:48:48.499
I like to gather together
all my friends.

00:48:49.075 --> 00:48:50.381
Friends of the sea,

00:48:50.918 --> 00:48:53.146
the forest, the mountain,

00:48:53.798 --> 00:48:56.909
the asphalt and the inter space.

00:48:57.062 --> 00:48:58.829
We're feeling so keen, so good,

00:48:58.944 --> 00:49:02.016
that we've decided to put on
a new musical performance.

00:49:09.619 --> 00:49:11.462
Occupied!

00:49:11.616 --> 00:49:13.382
Frau is shitting,
Herr is shitting!

00:49:13.498 --> 00:49:16.032
The man and woman are shitting!
Fox terrier and Doberman!

00:49:19.334 --> 00:49:20.486
Occupied!

00:49:20.794 --> 00:49:22.368
The king
and president are shitting!

00:49:22.560 --> 00:49:25.670
The minister is shitting too,
and the midwife and the priest!

00:49:29.203 --> 00:49:31.046
Occupied!

00:49:39.494 --> 00:49:41.837
Well, anyone who knows Tomeu,

00:49:41.914 --> 00:49:43.603
and I think I know him quite well...

00:49:44.333 --> 00:49:45.638
That's the way he is.

00:49:52.896 --> 00:49:53.933
The car stalls on me.

00:49:54.086 --> 00:49:56.890
Sometimes I have to do
things like this.

00:49:56.966 --> 00:49:59.501
I can't even afford
the vehicle safety test.

00:50:00.192 --> 00:50:01.690
It hasn't passed its MOT.

00:50:02.266 --> 00:50:03.610
What that means is

00:50:03.840 --> 00:50:05.107
I'm driving illegally.

00:50:05.645 --> 00:50:07.027
We're heading for Palma

00:50:07.411 --> 00:50:09.216
because in a few hours

00:50:09.677 --> 00:50:12.326
I'm going to the airport to pick up

00:50:12.826 --> 00:50:15.053
Nicolas Descharnes
who's flying in from Paris.

00:50:15.245 --> 00:50:19.008
He wants to be there
for the book launch.

00:50:19.430 --> 00:50:23.194
It will take place tomorrow, Friday,

00:50:23.501 --> 00:50:26.150
on July 5, in Palma de Mallorca.

00:50:26.304 --> 00:50:28.339
They have all the documents.

00:50:29.798 --> 00:50:31.373
They're studying them.

00:50:32.218 --> 00:50:34.138
When they consider it appropriate,

00:50:36.019 --> 00:50:37.824
they'll issue a report

00:50:39.053 --> 00:50:42.624
or an expert opinion
on the painting.

00:51:11.194 --> 00:51:12.307
Look, there he is!

00:51:13.344 --> 00:51:14.266
There he is!

00:51:20.371 --> 00:51:21.600
Hello!

00:51:21.830 --> 00:51:24.326
-How are you?
-Bartolomeu Payeras?

00:51:24.595 --> 00:51:27.360
-Or is it Tomeu L'Amo?
-I don't know who I am!

00:51:27.667 --> 00:51:29.203
The first copy of the book

00:51:29.587 --> 00:51:32.390
fresh from the printers.
This is for you.

00:51:32.506 --> 00:51:36.768
I've included
a little dedication to you.

00:51:36.960 --> 00:51:38.534
I think it turned out great.

00:51:53.203 --> 00:51:55.738
With Dalí...

00:51:56.467 --> 00:51:58.502
-Good afternoon.
-Hello.

00:51:58.618 --> 00:51:59.654
How are you?

00:52:01.306 --> 00:52:02.266
I'm good.

00:52:02.342 --> 00:52:04.877
-Nicolas Descharnes.
-Nice to meet you.

00:52:06.605 --> 00:52:07.757
Not only is

00:52:07.872 --> 00:52:11.136
the presence of Nicolas Descharnes
important for the book launch,

00:52:11.597 --> 00:52:16.512
but he can use this visit to Palma
to meet Venzal

00:52:17.126 --> 00:52:19.622
and Sandalinas
to help him

00:52:20.390 --> 00:52:22.234
assess the work they have done

00:52:22.426 --> 00:52:24.154
and give an informed opinion

00:52:24.230 --> 00:52:26.304
when he comments on this painting.

00:52:26.458 --> 00:52:30.182
The way the upper part is larger

00:52:30.797 --> 00:52:31.910
could also be

00:52:32.026 --> 00:52:35.021
interpreted as a reflection...

00:52:35.251 --> 00:52:37.978
-An aspect of his ego.
-Yes, the ego.

00:52:38.515 --> 00:52:40.243
Ego represented by large writing.

00:52:40.589 --> 00:52:43.430
The upper part is exaggerated.

00:52:43.584 --> 00:52:45.542
The upper part of the writing.

00:52:45.619 --> 00:52:48.346
Ego and particularly
the spiritual aspect.

00:52:48.461 --> 00:52:52.224
Your opinion about this writing

00:52:52.301 --> 00:52:54.144
is fundamental to me.

00:52:54.259 --> 00:52:59.098
He knows that issuing
a certification for this painting

00:53:00.250 --> 00:53:02.784
implies a lot of responsibility,

00:53:03.514 --> 00:53:04.896
so I must be 100