The Prince of Sleep is a portrait of King Juan Carlos of Spain, completed between 1973 and 1979. Dalí was a firm supporter of the Spanish Royal Family - he and Gala became friends with Juan Carlos when he was still prince. By the time of the portrait's completion, he had become king, following Franco's death in 1975.
    The portrait takes the photographic image of Juan Carlos in his military costume and sets it against a peaceful blue seascape, where the clouds are filled with sunlight. The image is taken from an official photograph of the prince. On his chest is an open door which seems to come out of the painting; a shadow from it is cast on to the white border. Through the doorway, a yellow road leads off into a desert landscape. Against the blue sky, a panel of gold hangs held up by two birds. The panel is positioned over the prince's heart, effecting a pun on the phrase, "heart of gold". Dalí often used the image of bodies with holes cut through; here, as in The Phoenix (1974), the open space is filled with images.

    Dalí was constantly attempting to find new techniques that would allow him to express himself in unique, more visually arresting ways. In Tuna Fishing Dalí used photography projected on to his canvas to recreate images, such as the figure of the Hellenistic statue on the left, in perfect detail. In the Seventies, he began to experiment with holography and stereoscopy. Painted in 1975, The Chair is one of Dalí's most successful stereoscopic paintings. The idea of stereoscopy was to combine a left and right image so that a three-dimensional image is achieved. The images were combined by looking through a stereoscope. A special one was designed for The Chair as the works were 13 ft (9 m) tall.
    The two paintings that make up The Chair are near identical pictures, differing only in their definition and light. When viewed together the images coalesce to form a solid looking chair that hangs in the air, while Dalí's hand appears in the foreground with intense detail, liver warts and all. Dalí wanted to achieve a sense of distance in the painting to emphasize the three-dimensional quality, so he placed the pedestals in decreasing size as if they were disappearing into the distance.