Question: From which time period is Dali's painting Swans Reflecting Elephants from?
About the article "Swans Reflecting Elephants", section "Abstract".

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Swans Reflecting Elephants (1937) is a painting by the Spanish surrealist Salvador Dalí.
This painting is from Dalí's Paranoiac-critical period.
Painted using oil on canvas, it contains one of Dalí's famous double images.
The double images were a major part of Dalí's "paranoia-critical method," which he put forward in his 1935 essay "The Conquest of the Irrational."
He explained his process as a "spontaneous method of irrational understanding based upon the interpretative critical association of delirious phenomena."
Dalí used this method to bring forth the hallucinatory forms, double images and visual illusions that filled his paintings during the Thirties.
As with earlier "Metamorphosis of Narcissus", "Swans Reflecting Elephants" uses the reflection in a lake to create the double image seen in the painting.
In "Metamorphosis", the reflection of Narcissus is used to mirror the shape of the hand on the right of the picture.
Here, the three swans in front of bleak, leafless trees are reflected in the lake so that the swans' heads become the elephants' heads and the trees become the bodies of the elephants.
In the background of the painting is a Catalonian landscape depicted in fiery fall colors, the brushwork creating swirls in the cliffs that surround the lake, to contrast with the stillness of the water 
The elephant is a recurring theme in the works of Dalí, first appearing in his 1944 work "Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening", and also in "The Temptation of Saint Anthony" and "Swans Reflecting Elephants.
"The Elephants" differs from the other paintings in that the animals are the primary focus of the work, with a barren graduated background and lack of other content, where most of Dalí's paintings contain much detail and points of interest (for example Swans Reflecting Elephants which is somewhat better known within Dalí's repertoire than "The Elephants".
The stork-legged elephant is one of the best-known icons of Dalí's work and adorn the walls of the Dalí Museum in Spain. 
After apprenticing with Ernst Fuchs, Caruana began using the "Mischtechnik", a painting technique which alternates between glazes of oil color (mixed in an oleo-resinous medium) and water-based whites (mixed in egg tempera or casein).
His art is highly mythological.
Through fine lines, strong colors and precise rendering, Caruana's work manifests the imagery typical of visionary experience.
More uniquely, his work combines symbols and styles from different cultural mythologies.
He has exhibited his works in London, Paris, Munich, Monaco, and other cities, both individually and as part of various visionary groups ("les Visionnaires" in France, "Dali's Erben" in Germany, "Society for Art of Imagination" in England).
His work has also appeared on album covers, in magazines, as tattoos, trading cards, and in posters for trance gatherings. 
The Prussian Homage () is an oil on canvas painting by Polish painter Jan Matejko painted between 1879 and 1882 in Kraków (then part of Austria-Hungary).
The painting depicts the "Prussian Homage," a significant political event from the time of the Renaissance in Poland in which Albrecht Hohenzollern, the Duke of Prussia paid tribute and swore allegiance to King Sigismund I the Old in Kraków's market square on 10 April 1525.
Matejko depicted over thirty important figures of the Polish Renaissance period, taking the liberty of including several who were not actually present at the event.
The painting glorifies this event in Poland's past and its culture, and the majesty of its kings.
At the same time, the painting has darker undertones, reflecting the troubled times that befell Poland in the late eighteenth century, for the Kingdom of Prussia would become one of the partitioning powers that ended the independence of Poland.
The painting was seen by some as anti-Prussian, foretelling its perceived betrayal of Poland; others have noted it is also critical of Poland, as Matejko included signs that signify this seemingly triumphant moment was a hollow, wasted victory.
Matejko created his painting to remind others about the history of the no-longer-independent country he loved, and about the changing fates of history.
The painting is counted among his masterpieces. 
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