Sunday Dalí: The Transparent Simulacrum of the Feigned Image, 1938. Oil on canvas, 72.5 cm x 92 cm. Albright-Knox Art Gallery, Buffalo, NY.

This painting is representative of Dalí’s paranoiac-critical method, specifically, in Dalí’s use of double images, as the title suggests. As Ades and Taylor put it:

The fraudulent nature of of Dalí’s double images accentuates the atmosphere of uncertainty and irrationality that was already a prominent feature of his earlier paintings, and ultimately discredits and shatters accepted notions about the supposed reality of the images of the external world.¹

The lake can also be seen as a white bowl holding some pears on a table with a rumpled napkin in the foreground slightly hanging off the edge. Viewed another way, the napkin/beach towel can be see as a bird flying towards the left.