Meret Oppenheim, named after a spirited character in Gottfried Keller’s novel Green Henry, undeniably grew into one of the most intriguing figures of the Surrealist movement. Let’s delve into five of her remarkable creations!
More Than a Surrealist
To clarify, Meret Oppenheim (1913–1985) was not simply a Surrealist; her artistic pursuits spanned various mediums. Her extensive career involved sketching, painting, sculpture, photography, set design, fashion, jewelry (in collaboration with Elsa Schiaparelli), scriptwriting, and book illustration. While she may have been regarded as the epitome of Surrealism, Oppenheim did not embrace that label wholeheartedly. Her vivacious and clever artwork boldly challenged the confines imposed on women and women artists. This pioneering artist was determined not to be confined to a single identity and distanced herself from the Surrealist movement for many years.
Meret Oppenheim. Photo by Keystone/Swissinfo.
1. Object
The furry teacup and saucer set from 1936, our cover image, stands as her most celebrated piece. Despite its acclaim, Oppenheim grew weary of the attention it received. Surrealists, including André Breton, were captivated, viewing it as an emblematic artifact of their movement. Ironically, Oppenheim later claimed the piece, also known as Luncheon in Fur, became tiresome and felt that its notoriety constrained her creative freedom.
Meret Oppenheim, Fur Gloves with Wooden Fingers, 1936, private collection. WikiArt.
Domesticity vs. Savagery
Critics have proposed that the spoon symbolizes phallicity, the cup represents femininity, while the fur alludes to primal instincts. Others suggest this piece contrasts civilized domesticity (the mundane cup) with the raw, untamed essence of the wild (the fur). In subsequent works, Oppenheim continued investigating this dichotomy, as seen in her fur gloves with wooden fingers and suede gloves adorned with veins—focusing on the physical while revealing the vital processes beneath.
Meret Oppenheim, Silkscreened leather gloves, 1985. WikiArt. Detail.
The Title
This amusing surreal artwork, initially called the fur teacup, was renamed Luncheon in Fur (Déjeuner en fourrure) by André Breton during an exhibition he organized. Breton didn’t just select the title for its allure; he referenced the 1870s novel Venus in Furs, which set an erotic and controversial tone that Oppenheim did not intend. Nevertheless, it did captivate audiences at Breton’s exhibition and added an unwanted layer of scandal to her work.
Years later, in the 1970s, an Italian gallery owner urged Oppenheim to create mass reproductions of her famed fur cup. Finding the idea absurd, she instead crafted Souvenir of LuncheoninFur as a humorous tribute to her fame. Ironically, these replicas became highly valued among collectors.
Meret Openheim, Souvenir of Luncheon in Fur, 1972, Los Angeles County Museum of Art, Los Angeles, CA, USA.
Psychology and Carl Jung
Charming, brilliant, and discerning, Oppenheim was born into a family of inquisitive minds. Pioneering psychologist Carl Jung was a close family friend, and Oppenheim maintained a dream diary from an early age, incorporating insights from her dreams into her art. Jung’s theories about androgynous creativity and the duality of anima and animus significantly influenced her artistic evolution. Her grandmother, Lisa Wenger, an artist, writer, and publisher, along with her aunt, Ruth Wenger, an art enthusiast, ensured that Meret was surrounded by an inspiring artistic environment.
Meret Oppenheim, School notebook, 1930, National Museum of Women in the Arts, Washington, DC, USA. Photo by Lee Stalsworth.
2. Giacometti’s Ear
At just 18, Oppenheim made the move to Paris in 1932, quickly infiltrating a vibrant circle of artists that included Pablo Picasso, Jean Arp, Alberto Giacometti, Marcel Duchamp, and Man Ray. She frequented Giacometti’s studio, where she honed sketches for the ear sculpture. This was later cast in bronze in 1959. Her brief liaison with Giacometti, along with her passionate affair with Max Ernst, showcased Oppenheim’s strong desire for independence in both her work and personal life.
Meret Oppenheim, Giacometti’s Ear, 1959 (based on a 1933 sketch). WikiArt.
As a woman, one is obliged to prove via one’s lifestyle that one no longer regards as valid the taboos that have been used to keep women in a state of subjugation for thousands of years. Freedom is not given; one has to take it.
Acceptance Speech for the 1974 Basle Art Award in Bice Curiger, Meret Oppenheim: Defiance in the Face of Freedom, MIT Press, USA, 1989.
Meret Oppenheim, X-ray of My Skull, 1964, San Francisco Museum of Modern Art, San Francisco, CA, USA.
Man Ray
Through her friendship with Man Ray, Oppenheim often posed for his intriguing works. His iconic piece Erotique Voilée (1933) depicted her in an unconventional manner, challenging traditional gender portrayals. Oppenheim wanted to be embraced as a key player within the artistic community, yet she frequently found herself cast in the role of a muse rather than being acknowledged as an artist herself.
During her retrospective at the Moderna Museet in Stockholm in 1967, Oppenheim requested the museum feature the x-ray of her skull, created in 1964, as the exhibition catalog cover. However, the museum opted for Man Ray’s piece, ironically capturing her image yet not credited to her.
Man Ray, Erotique Voilée, 1933, Museum of Fine Arts, Houston, TX, USA.
3. My Nurse
Inspired by the shoes of her childhood nurse, this work features a pair of white shoes bound like a piece of roasted meat on a platter. It illustrates themes surrounding womanhood, domestic life, and the constraints on freedom. While pristine (symbolizing purity), the shoes also exude a sense of wear (implying dirtiness). Themes of bondage, sadism, and foot fetishism signify Oppenheim’s deep understanding of Freudian concepts. This audacious 1936 piece plays with viewer perceptions while showcasing Oppenheim’s sharp intellect and dark humor.
Meret Oppenheim, My Nurse (Ma Gouvernante), 1936, Moderna Museet, Stockholm, Sweden.
Oppression/Depression
The term femme-enfant was coined by André Breton to describe Meret Oppenheim, embodying the male artist’s fantasy of women—innocent, playful, creative yet sexual. Oppenheim, however, yearned for more. She believed that true artistry encompassed the full range of human experience, encompassing both masculinity and femininity.
Deeply affected by the exploitation of women in artistic circles, Oppenheim took an extended hiatus from art, dedicating herself to recovery. For 18 years, she stepped away from the spotlight, engaging in art conservation, before re-emerging with Gruppe 33, an anti-fascist artists’ collective.
4. Spring Banquet
Meret Oppenheim, Spring Banquet/Cannibal Banquet, 1959/1960. Photo by Roger Van Hecke/AndreBreton.
Picture a living woman laid nude on a table, her body adorned with food—what comes to mind? Oppenheim viewed her 1959 performance piece, Banchetto di Primavera (Spring Banquet), as a celebration of life, emphasizing the vital role women play in the world.
Later, André Breton requested Oppenheim to restage this work for an exhibition centered on eroticism and voyeurism, ostensibly renaming it Cannibal Banquet. This alteration introduced a violent, misogynistic narrative that distressed Oppenheim, transforming her piece into a work of soft pornography that appealed to male fantasy.
5. Red Head, Blue Body
Meret Oppenheim, Red Head, Blue Body, 1936, Museum of Modern Art, New York City, NY, USA. WikiArt.
Red Head, Blue Body is the only piece Oppenheim bequeathed to MoMA, indicating its significance to her. A biomorphic representation, the work depicts a red head, reminiscent of a balloon, ascending into the atmosphere, tethered to a blue body by a gray cord. Is this a depiction of bondage or connection? For Oppenheim, likely both.
Experimentation
Man Ray, Solarized portrait of Meret Oppenheim, 1933, Museum of Modern Art, New York City, NY, USA.
Oppenheim’s artistic journey was marked by constant experimentation and inquisitiveness. She aimed to harness her intellect as a creative asset, free from the limitations of gender. A seemingly spontaneous creation like the fur teacup overshadowed her subsequent works; she became known primarily as the artist who adorned objects with fur. While many male Surrealists perceived her just as a beautiful body to inspire their art, Oppenheim cleverly subverted the male-dominated narratives, crafting works that transcended their patriarchal confines.
If you speak a new language of your own, that others have yet to learn, you may have to wait a very long time for a positive echo.
Bice Curriger, Meret Oppenheim: Defiance in the Face of Freedom, MIT Press, USA, 1989.
Positive Echoes
The ongoing struggle for women’s recognition in the art world remains highly relevant today. Oppenheim’s voice reverberated and eventually gained recognition. This acknowledgment came slowly, yet women like Judy Chicago, Louise Bourgeois,Ana Mendieta, and Marina Abramović continue to amplify Oppenheim’s remarkable and defiant artistic legacy.
Ana Mendieta, On Giving Life, 1975. Artist’s website.
Marina Abramovic, Miracle 4, 2018. ArtBasel.
Judy Chicago, The Dinner Party, 1974–1979, Brooklyn Museum, New York City, NY, USA. Photo by Donald Woodman/Brooklyn Museum.
Louise Bourgeois, Maman, 1999, Tate, London, UK. Pinterest.
Feminist Ana Mendieta explored identity and belonging
Just like Meret Oppenheim, Ana Mendieta used multiple art forms in audacious ways.
World famous performance art
Marina Abramović often confronts discomfort and the physical limits of the body in her work
One of the most iconic works of the feminist art movement
Like Meret Oppenheim, Judy Chicago uses ordinary domestic artifacts like plates and cups, plus “women’s skills” like embroidery and weaving, to produce incredible art.
The giant spider has a dream-like quality
Throughout her life, Louise Bourgeois explored the role of women, childhood, and the pain of motherhood.
If you find yourself inspired by surreal and dreamlike art, challenge yourself with the DailyArt Surrealism quiz: Can You Guess These Surrealist Artists?
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