The piece was an immediate sensation among Oppenheim’s group of artist friends, some of whom were key members of the Surrealist movement. Méret Oppenheim, Object (Le Déjeuner en fourrure), Paris, 1936, Fur-covered cup, saucer, and spoon, cup 4-3/8 inches in diameter; saucer 9-3/8 inches in diameter; spoon 8 inches long, overall height 2-7/8" (The Museum of Modern Art) Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. Aside from anything else, this sexualisation and interpretation is somewhat tiresome as Oppenheim was not even a follower of Freudian philosophy, unlike many of her Surrealist peers, instead preferring to take inspiration from Carl Jung. The work, which originated in a conversation in a Paris cafe, is the most frequently-cited example of sculpture in the surrealist movement. While these alluded to their sexuality and fertility, they arguably did not aim to demonize these qualities. L’idée de la réalisation de l’oeuvre est liée à une anecdote bien connue : « This Surrealist object was inspired by a conversation between Oppenheim and artists Pablo Picasso and Dora Maar at a Paris cafe. This argument comes very close to that dangerous question, which must always be avoided: what is art? Who are we, or more specifically who am I, to suggest Breton detracted from rather than improved the piece with his interference? Maybe in this case, it can be viewed as a feminist issue, but in many others, it is just a case of misunderstanding the artist’s intention. Object has also been widely interpreted through a Freudian lens, and has been seen in a symbolic sense as a female sexual reference. This page was last modified 17:34, 12 January 2019. MoMA then acquired Object, the museum’s first acquisition (in the seven years since its founding) of art made by a woman. After being shown at a small display of Surrealist artefacts, it was bought and featured by The Museum of Modern Art (MoMA) in New York as part of their 1936-37 exhibition ‘Fantastic Art, Dada, and Surrealism’, making Oppenheim the first ever female artist to be displayed by the museum, and leaving her the legacy of ‘first lady of MoMA’. “It is not I who looked for the Surrealists, it is they who found me” Oppenheim said, they were merely the circle she moved in; it was Breton who effectively subsumed her into his movement without her consent. While these sexist clichés of femininity were admittedly championed by the Surrealists, it would be naive and lazy to use them as scapegoats, considering their visions were drawn from concepts about women that have abounded for centuries. And the anecdotal origin of the piece also elegantly illustrates the playful subversion that was at the heart of its creation. This story starts with a cliché, in a bohemian café in Paris with Picasso, his lover Dora Maar and Méret Oppenheim drinking tea, yet this truly is where the idea for Oppenheim’s most famous masterpiece was conceived. ‘Object (Le Déjeuner en fourrure)’ was created in 1936 by Meret Oppenheim in Surrealism style. Furthermore, there is something singularly distasteful about claiming a piece of work by an artist who, after all has a vagina, and appropriating it as part of a narrative which depicts vaginas as repellent traps. It is not just the use of the ‘femme fatale’ in Surrealists’ work, however, that is troubling. His brilliance is undeniable and it is easy to see why he was so taken with Oppenheim’s art, but when he ‘discovered’ and then championed her works as a piece of quintessential Surrealism, he perforce claimed it as his own. In addition to the “objects” she created, she … Though this impressive history may seem to refute the aforementioned issues surrounding female art in the light of male domination, arguably Oppenheim’s ‘Object’ and ‘Le Déjeuner en Fourrure’ became two very different pieces of art.
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