Sunday Dalí: The Invisible Man, 1929.

This was the first painting in which Dalí began to use the double images that were to flood his work over the next decade, during his “paranoia-critical” period. The double images used here are not as successful as the later painting, Swans Reflecting Elephants (1937). The viewer is aware of the illusions that Dalí is creating before they are aware of what the overall form is meant to be.

The yellow clouds become the man’s hair; his face and upper torso are formed by ruined architecture that is scattered in the landscape and a waterfall creates the vague outline of his legs. As with almost all Dalí’s work in 1929, this painting deals with his fear of sex. The recurring image of the “jug woman” appears on the left of the picture. To the right of her is an object with a womb shape, part of which delineates the right arm of the man. The dark shape outlining the fingers and legs of the man suggests the female form. Beneath the man a wild beast is prowling - another of Dalí’s recurring sexual symbols. (via dali-gallery.com)