The painting that Schaeffer points to most and the one that he attributes to his remarkable “conversion” is that of his wife. Thus his paintings have Christian motifs but ignore the historic Christian message. For instance in The Sacrament of the Last Supper, he depicts a vaporous savior seated with his disciples overshadowed by a human figured on a cross, presumably Jesus, but whose head is unseen, cut off by the top of the painting. In his later artwork, Dali turned to Christian symbols and figures to express his non-Christian mysticism.
He says, “ So on this particular day Dali gave up his surrealism and began his new series of mystical paintings.” (71). Describing this transformation, Schaeffer remarks that Dali’s loving tribute to his wife marks the time in which his paintings took on a more humane and sensible form. Unlike many whose lives are marked by inconsistency, promoting one system of thought but living out another, Salvador Dali, the twentieth century painter, readjusted his artwork to accord with his home life. In his book The God Who is There, Francis Schaeffer points to Salvador Dali as an example of someone whose world reshaped his worldview.
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