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.