270:. She continued to contribute to Surrealist exhibitions until 1960. Many of her pieces consisted of everyday objects arranged to allude to female sexuality and feminine exploitation by the opposite sex. Oppenheim's paintings focused on the same themes. Her abundant strength of character and her self-assurance informed each work she created, conveying a certain comfortable confrontation with life and death. Her originality and audacity established her as a leading figure in the Surrealist movement. In
497:
subconscious, Oppenheim used painting and her dreams as an “analogy to its (the subconsciousness’) forms“. Likewise, Oppenheim used versatile symbols, partly influenced by Carl Jung, that provided mystery and ambiguity. Similarly, unlike other
Surrealists, Oppenheim used symbols with a “fluid and changeable impact” and produced works that were cohesive through frequent and organized ideas rather than formal language. To direct viewers towards her meaning, she would strategically title her works.
588:
211:. Throughout her life, Oppenheim carefully analyzed her own dreams and transcribed them in detail in her writings. She attempted to use them when addressing “fundamental life questions.” Likewise, Oppenheim used iconography and motifs from Jung's archetypes within her work throughout the years; typical motifs Oppenheim used include spirals and snakes. Oppenheim renounced the term “feminine art” and adopted Jung's ideal
358:. Due to this purchase, Oppenheim was thought to be the first woman in the museum's permanent collection, and she was dubbed "the First Lady of MoMA." But Barr, who bought the work with his own money, was unable to get conservative trustees to accept it, and it did not enter the permanent collection until 1963 (it entered the museum’s study collection in 1946, where it was unseen for many years).
472:
allowing the public to accept it. In 1983 Oppenheim also partook a touring exhibition through the Goethe
Institute in Italy. In 1984 she had a solo exhibition in Kunsthalle Bern in Switzerland along with Musee d’Art Moderne in Paris, France. Thus, Oppenheim was one of the only “female artists of her generation to be recognized internationally while she was alive.”
198:, German Expressionists, French Impressionists and poems of the Romantics. Oppenheim was also inspired by her aunt, Ruth Wenger, especially by Wenger's devotion to art and her modern lifestyle. During the late 1920s, Oppenheim was further exposed to different artworks connected to Modernism, Expressionism, Fauvism, and Cubism.
459:
In the 1960s
Oppenheim distanced herself from the Surrealists. She felt she belonged with the post-war generation, which was younger. Oppenheim was notably “true to herself” and undertook novel topics in her work with “fresh pictorial language.” Despite this, Oppenheim never had her own students, but
480:
After
Oppenheim moved to Paris, her first contacts became Alberto Giacommetti and Hans Arp. She was then introduced to Marcel Duchamp and Man Ray, and was in 1936 asked to exhibit her work in a show at the Museum of Modern Art in New York. Her paintings were hung alongside those in the Paris and New
430:
In the 1950s
Oppenheim became friends with Arnold Rudlinger, the director of the Kunsthall Bern. The varying programs and exhibitions at the Kunsthall Bern placed Oppenheim in a stimulating artistic environment that enabled her to explore international art trends while working alongside Dieter Roth,
320:
was inspired by a conversation
Oppenheim had with Pablo Picasso and his lover Dora Maar at the Café de Flore in Paris. As they admired a fur bracelet Oppenheim had designed, Picasso, according to one version of the story Oppenheim told, said everything could be covered in fur, even a cup and saucer.
496:
Oppenheim experimented with diverse styles throughout her career, including while she identified as a
Surrealist. She experimented with “veristic surrealism” and had a quality of openness that allowed her work to maintain relevance. Unlike other Surrealists that viewed dreams as a way to unlock the
315:
consists of a teacup, saucer and spoon that she covered with fur (she thought it was from a
Chinese gazelle, though MoMA determined that it is not). Fur arguably represents affluence. The cup, hollow yet round, can evoke female genitalia; the spoon, with its phallic shape, adds another erotic note.
193:
by
Gottfried Keller. Oppenheim had two siblings, a sister Kristin (born 1915), and a brother Burkhard (born 1919). Her father, a German-Jewish doctor, was conscripted into the army at the outbreak of war in 1914. Consequently, Oppenheim and her mother, who was Swiss, moved to live with Oppenheim's
411:
In 1937, Oppenheim returned to Basel, training as an art conservator in order to ensure her financial stability. This marked the beginning of a creative crisis that lasted until 1954. Although she maintained some contact with her friends in Paris, she created very little and destroyed or failed to
637:
Oppenheim, who died in 1985, at 72, kept careful notes about which patrons and colleagues she liked and where her works ended up. She dictated which of her writings should be published and when, and there are puzzling gaps, since she destroyed some material. The archive and much artwork have been
450:
in Bern for a few friends at which food was served on the body of a naked woman. The exhibit caused controversy, with
Oppenheim accused of treating the female body as on object to be devoured. With Oppenheim's permission, Andre Breton restaged the performance later that year at the opening of the
423:
Oppenheim began working as an art conservator in 1944 during an eighteen year long depressive episode. Oppenheim was known for struggling with her awareness of the oppression of women in society. Oppenheim was also impacted when her father had to flee to Switzerland before World War II due to his
241:
and began to participate in meetings at the Café de la Place Blanche with the Surrealist circle. She impressed the surrealists with her uninhibited behavior. Shortly after she began to attend meetings regularly with Breton and other acquaintances, Oppenheim's circle was joined by other Surrealist
325:
after Breton invited her to participate in an exhibition of Surrealist objects at the Galerie Charles Ratton in Paris. By covering the tea service with fur, Oppenheim achieved a Surrealist goal by liberating the saucer, spoon, and teacup from their original functions as consumer objects. Viewers
281:
and this marked the start of her artistic block. She struggled after she met success and worried about her development as an artist. Oppenheim usually worked in spontaneous bursts and at times destroyed her work. Oppenheim took a hiatus from her artistic career in 1939 after an exhibition at the
424:
Jewish surname; his credentials and training as a doctor were also discredited, leaving him unemployed. As a result, Oppenheim needed to do conservation for financial and emotional relief. She viewed the works she produced in this time of her life as imaginative and “projections of her fantasy.
471:
was published, and she was commissioned to make a public fountain by Berlin's art commission. Her fountain was cast in 1983 and had mixed public reviews. Due to the fact it lights up at night, newspapers called it a “lighthouse” and “an eyesore.” Eventually it became covered in algae and moss,
633:
Oppenheim has been esteemed as a figure of “feminist identification” for the women's movement and a role model for younger generations due to her “socio-critical and emancipatory attitude.” In 1975 Oppenheim gave a speech at “the presentation of Basler Kunstpreis” and directly asked women “to
455:
at the Galerie Cordier in Paris. Outside its original intimate setting, the performance was overly provocative and Oppenheim felt her original intention for the work was lost. Oppenheim felt surrealism changed after World War II and she never exhibited with the Surrealists again.
488:
Oppenheim fit in with the Surrealists because she was seeking "acceptance and approval for the way she was living her life." She was skeptical of any concrete ideology, and Surrealism allowed her to experiment within her art. This is evident in her painting
1711:
563:
mounted Oppenheim's first major museum show in the United States at a time when renewed interest in her work, particularly among young artists, had already begun in Europe. In 2013, a comprehensive retrospective of Oppenheim's work opened at the
237:. After visiting her studio and seeing her work, Arp and Giacometti invited her to participate in the Surrealist exhibition in the “Salon des Surindépendants,” held in Paris between 27 October and 26 November. Oppenheim later met
706:“Maureen P. Sherlock, “Mistaken Identities: Méret Oppenheim,” in ‘’The Artist Outsider: Creativity and the Boundaries of Culture, ed. by Michael D. Hall and Eugene W. Metcalf, 276-288 (Washington, DC: Smithsonian, 1993), p. 281”
374:
became so widely known that many misconceptions about Oppenheim and her art were created because of it. For example, many incorrectly believed that Oppenheim mainly created objects in fur. Being known as the artist of
398:
Throughout her life, Oppenheim has been willing to pose for photographers. Her most popular photo-shoot with Man Ray deeply depicts her personal stance on femininity. Contrary to the discretion about the gender of
365:
would be one of the main forces that led to her lengthy artistic crisis due to its spiking increase in popularity after being displayed by Barr in New York. Although it brought Oppenheim a large amount of fame,
715:
Nancy Spector, “Meret Oppenheim: Performing Identities,” in ‘’Meret Oppenheim: Beyond the Teacup,’’ ed. by Jacqueline Burckhardt and Bice Curiger, 35-43 (New York: Independent Curators Incorporated, 1996), p.
379:, Oppenheim was bounded to Surrealism from public expectation, a connection she was trying to avoid. Decades later, in 1972, she artistically commented on its dominance of her career by producing a number of "
2673:
302:. She did not share any art with the public again until the 1950s. Oppenheim then reverted to her "original style" and based her new artworks on old sketches and earlier works and creations.
610:
on January 16, 1975. In her acceptance speech, Oppenheim coined the phrase "Freedom is not given to you — you have to take it." In 1982, three years before her death, she received the 1982
370:
reinforced the public's belief that Oppenheim only practiced Surrealism which she found hindered her freedom of artistic expression and exploration of other artistic styles. In fact,
1306:
1583:
229:
to study painting. Her first studio was a hotel room at Montparnasse Hotel in Paris. At this time she produced mainly paintings and drawings. In 1933, Oppenheim met
2688:
1375:
1025:
222:, the focus of a retrospective at the Kunsthalle Basel in 1929, provided another strong influence on Oppenheim, arousing her to the possibilities of abstraction.
724:
722:
1258:
634:
demonstrate to society by the invalidity of taboos by adopting unconventional ways of life” and utilize their intellect as a creative strength without fear.
2617:
645:
Levy Galerie, founded in 1970 by Hamburg resident Thomas Levy, represents the estate of Meret Oppenheim, in close collaboration with the artist's family.
2622:
2723:
2713:
31:
2733:
194:
maternal grandparents in Delémont, Switzerland. In Switzerland, Oppenheim was exposed to a plethora of art and artists from a young age, including
1435:
1180:
1001:
894:
849:
226:
96:
1794:
1302:
2718:
401:
307:
782:. Scheidegger & Spiess, bilingual German and English, Juli 2022, ISBN 978-3-03942-093-3, cited in "Meret Oppenheim — My Album", in
2678:
2708:
2683:
2571:
1695:
1393:
1351:
805:
568:
in Berlin, gathering the artist's paintings, sketches, sculptures, masks, clothing, furniture, and jewelry. Lenders included singer
1472:
205:
through her father and was inspired to record her dreams. Oppenheim was interested in Jung's analytical approach, particularly his
504:
persists as an example of “Surrealist fetishism,” as its function follows its form; the fur on the cup renders it not functional.
408:
s creator, the photographs provided an unmistakable monument to her femininity and a testimony to her unwillingness to expose it.
2450:
1314:
533:
579:. In 2022, MoMA put on a retrospective exhibition that highlighted Oppenheim's continuous production over her lengthy career.
2703:
2516:
512:
In 1936, at the beginning of her career, Oppenheim was included in two important Surrealist exhibitions outside of Paris:
1451:
2698:
2693:
2430:
2360:
1957:
977:
Josef Helfenstein, "Against the Intolerability of Fame: Meret Oppenheim and Surrealism," in ‘‘Beyond the Teacup,’’ p. 24
560:
2172:
2728:
1762:
538:
460:
sometimes would mentor younger artists. In 1968 Oppenheim had a solo exhibition at the Galerie Martin Krebs in Bern.
330:
which was rendered dysfunctional. The artwork's long title was created by Breton (Oppenheim referred to it simply as
600:
918:
1491:
1126:
2642:
1837:
639:
2122:
548:
in 1967. In Switzerland, her first retrospective was held at Museum der Stadt, Solothurn (1974) and traveled to
2526:
2511:
1787:
605:
517:
1767:
225:
In May 1932, at the age of 18, Oppenheim moved to Paris from Basel, Switzerland and sporadically attended the
446:
in Berne. She and artist Lilly Keller were cast as the curtains. Three years later, in 1959, she organized a
2325:
1536:
493:, which has been described as "sexless, featureless, placeless...a portrait of the attitude of its maker."
2637:
2506:
2195:
1763:
Abbi Jacobson and Anne Umland discuss Meret Oppenheim's Object, A Piece of Work podcast, WNYC Studios/MoMA
1729:
1715:
549:
2380:
283:
2607:
2592:
2536:
2275:
2260:
2200:
1736:
267:
1907:
1158:"From Dejeuner en fourrure to Caroline: Meret Oppenheim's Chronicle of Surrealism" Surrealism and Women
618:
30:
1752:
1631:
576:
2668:
2663:
2587:
2541:
2077:
1407:
351:
274:
she was described as having embodied and "personified male Surrealism's ideal of the 'femme-enfant.'
1231:
2475:
1912:
1780:
611:
2032:
1080:
Young, Lisa Jaye; Qualls, Larry (1997-01-01). "Nobody Will Give You Freedom You Have to Take It".
427:
Oppenheim kept a studio in Bern since 1954 and lived there permanently from 1967 until her death.
1952:
1942:
1877:
1609:
1369:
1213:
1089:
1019:
912:
745:
565:
347:
234:
2410:
2400:
1947:
1427:
1421:
2627:
2597:
2445:
2395:
2355:
2270:
1967:
1691:
1499:
1431:
1389:
1357:
1347:
1176:
1007:
997:
900:
890:
845:
801:
417:
2602:
2556:
2521:
2501:
2470:
2455:
2440:
2220:
2137:
2097:
2017:
2007:
1992:
1982:
1927:
1892:
1882:
1741:
1339:
1205:
553:
528:
206:
2365:
1404:
242:
artists such as Marcel Duchamp, Max Ernst, and Man Ray. The conceptual approach favored by
2415:
2340:
2320:
2225:
2167:
2157:
2147:
2117:
2092:
2072:
2047:
2012:
1862:
1857:
621:) all named after Oppenheim in the city center. The large fountain features her sculpture
617:
In 2019, Basel inaugurated a plaza, road, fountain and a high-rise apartment building (by
587:
573:
251:
2290:
2230:
2112:
2022:
1827:
1757:
238:
1721:
1669:
With Photographs by Heinrich Helfenstein. Translated from German by Catherine Schelbert.
1217:
889:. Bühler, Kathleen; Oppenheim, Meret; Kunstmuseum Bern. Bielefeld: Kerber Verlag. 2013.
2612:
2435:
2425:
2375:
2330:
2295:
2265:
2250:
2245:
2235:
2210:
2127:
2107:
2082:
2057:
1972:
1922:
1917:
1867:
1847:
1476:
1455:
1335:
686:
545:
435:
243:
1522:
Belinda Grace Gardner, "From 'Breakfast in Fur' and Back Again," in Thomas Levy, ed.,
1171:
Eipeldauer, Heike (2013). "Meret Oppenheim's Masquerades". In Brugger, Ingried (ed.).
463:
In 1982 Oppenheim won the Berlin Art Prize and was featured in Rudi Fuchs’ exhibition
2657:
2551:
2546:
2465:
2405:
2385:
2350:
2335:
2315:
2255:
2240:
2215:
2177:
2162:
2042:
2027:
2002:
1962:
1897:
1852:
1678:
653:
392:
187:. She was named after Meretlein, a wild child who lives in the woods, from the novel
152:
66:
2566:
2561:
2480:
2460:
2420:
2305:
2300:
2285:
2205:
2037:
1902:
1872:
1832:
660:
195:
2390:
2345:
2310:
2062:
1887:
783:
1746:
1388:
Irene Meier, in ″Gruppe 33″, Editions Galerie zem Specht, 1983, Basel, page 405.
2496:
2142:
2132:
1987:
1977:
1937:
1842:
1817:
569:
481:
York art scenes, including Salvador Dalí and Giacommetti. After the exhibion of
295:
287:
189:
930:
928:
2531:
2370:
2052:
1803:
1635:
Oppenheim, Méret. "Meret Oppenheim: Beyond the Teacup." New York, 1996. Print.
172:
148:
1503:
1209:
1011:
904:
761:
759:
2280:
1997:
1932:
1630:
Chadwick, Whitney. "Oppenheim, Meret." Grove Art Online. Oxford Art Online.
413:
299:
247:
219:
202:
111:
1361:
395:
lens, and has been seen in a symbolic sense as a female sexual reference.
215:
in her art in which masculine and feminine aspects worked simultaneously.
2102:
1822:
380:
230:
107:
2087:
1093:
821:
Mifflin, Margot (September 1986). "An Interview with Meret Oppenheim".
439:
354:
in New York, where it was included in the museum's landmark exhibition
294:. In the exhibition she was featured alongside many artists, including
1688:'Meret Oppenheim: eine andere Retrospektive. A different retrospective
572:, the Swiss retail tycoon and art dealer Ursula Hauser, and the Dutch
1259:"'Luncheon In Fur': The Surrealist Teacup That Stirred The Art World"
649:
412:
finish much of what she created. In Basel she became a member of the
184:
115:
62:
1052:
1050:
2152:
1288:
Burckhardt, Jacqueline; Curiger, Bice (1996). Capp, Robbie (ed.).
1039:
Burckhardt, Jacqueline; Curiger, Bice (1996). Capp, Robbie (ed.).
586:
291:
278:
263:
171:(6 October 1913 – 15 November 1985) was a German-born Swiss
84:
2632:
1776:
1584:"Das Meret-Oppenheim-Hochhaus in Basel: Ein kolossaler Elefant"
1650:(12th ed.). USA: Thompson Learning Co. pp. 999–1000.
1292:. New York, NY: Independent Curators Incorporated. p. 29.
1043:. New York, NY: Independent Curators Incorporated. p. 24.
1772:
659:
In 2018, Oppenheim was the subject of a short documentary by
1562:
350:, who hoped to place it in the permanent collection of the
262:
In 1936, Meret Oppenheim had her first solo exhibition in
1659:(4th ed.). USA: Pearson Education. pp. 203–204.
664:
1492:"Meret Oppenheim: Enough With That Tempest in a Teacup"
1423:
Modern Women: Women Artists at The Museum of Modern Art
1196:
Caws, Mary Ann (2011). "Meret Oppenheim's Fur Teacup".
434:
In 1956, Oppenheim designed the costumes and masks for
1524:
Meret Oppenheim: From Breakfast in Fur and Back Again
485:
Man Ray anointed Oppenheim as "Surrealism's 'muse.'"
201:
By 1928, Oppenheim was introduced to the writings of
2580:
2489:
2186:
1810:
416:and participated in their group shows, 1945 in the
158:
144:
121:
103:
92:
73:
44:
21:
1537:"The artwork of Meret Oppenheim: A surreal legacy"
1127:"Seeing Meret Oppenheim Whole: 'My Retrospective'"
1420:Butler, Cornelia H.; Schwartz, Alexandra (2010).
638:entrusted to institutions in Bern, including the
1526:(Bielefeld, Germany: Kerber Verlag, 2003), p. 7.
730:Meret Oppenheim: Defiance in the Face of Freedom
469:Meret Oppenheim: Defiance in the Face of Freedom
453:Exposition inteRnatiOnale du Surrealisme (EROS),
1646:Kleiner, Fred S.; Mamiya, Christian J. (2005).
1690:. Graphische Kunstanstalt - Otto Sares, Wien.
1467:
1465:
1344:Old mistresses : women, art, and ideology
544:Oppenheim's first retrospective was hosted by
334:), who combined Leopold Sacher-Masoch's novel
326:experienced various emotions as they observed
183:Meret Oppenheim was born on 6 October 1913 in
2674:Alumni of the Académie de la Grande Chaumière
1788:
1473:Meret Oppenheim’s Works at Martin-Gropius-Bau
8:
1175:. Vienna, Austria: Hatje Cantz. p. 17.
800:. Cambridge, MA: The MIT Press. p. 64.
740:
738:
391:has also been widely interpreted through a
2623:London International Surrealist Exhibition
1795:
1781:
1773:
1426:. New York: Museum of Modern Art. p.
1374:: CS1 maint: location missing publisher (
1024:: CS1 maint: location missing publisher (
987:
985:
983:
732:(Cambridge, MA: The MIT Press, 1989), p. 9
527:In 1943, Oppenheim's work was included in
29:
18:
16:German-Swiss surrealist artist (1913–1985)
1712:Publications by and about Méret Oppenheim
2618:Exposition Internationale du Surréalisme
1156:Riese Hubert, Renee (1993). Caws (ed.).
1160:. Cambridge, MA: MIT Press. p. 39.
780:Meret Oppenheim — Mein Album / My Album
678:
514:The International Surrealist Exhibition
1737:Small gallery of Meret Oppenheim works
1367:
1125:Cordova, Ruben C. (December 2, 2022).
1017:
910:
881:
524:, The Museum of Modern Art, New York.
2689:Swiss people of German-Jewish descent
1283:
1281:
1279:
1151:
1149:
1147:
1120:
1118:
1116:
1114:
1112:
958:
956:
954:
952:
950:
948:
946:
944:
879:
877:
875:
873:
871:
869:
867:
865:
863:
861:
652:celebrated her 104th birthday with a
7:
1722:"Literary estate of Méret Oppenheim"
746:"A surreal legacy, A surreal legacy"
169:Meret (or Méret) Elisabeth Oppenheim
1714:in the catalogue Helveticat of the
842:Meret Oppenheim: Brunnengeschichten
1747:IMAGO: Meret Oppenheim (1988/1996)
1610:"Meret Oppenheim's 104th Birthday"
1290:Meret Oppenheim: Beyond the Teacup
1257:Matyris, Nina (February 9, 2016).
1106:Whitney Chadwick, Grove Art Online
1041:Meret Oppenheim: Beyond the Teacup
967:. Museum of Modern Art. p. 7.
778:Lisa Wenger and Martina Corgnati:
431:Daniel Spoerri, and Markus Raetz.
356:Fantastic Art: Dada and Surrealism
305:Oppenheim's best known artwork is
14:
2572:The Surrealist Group in Stockholm
1563:"Meret Oppenheim High-rise (MOH)"
342:During the year of its creation,
99:, Basel School of Arts and Crafts
37:X-Ray of Meret Oppenheim’s Skull,
2724:20th-century Swiss photographers
2714:20th-century women photographers
1768:Meret Oppenheim on MoMA Learning
1452:After a Furry Teacup, What Then?
1058:Meret Oppenheim: A Retrospective
491:Sitting Figure with Folded Hands
308:Object (Le Déjeuner en fourrure)
2734:German emigrants to Switzerland
844:. Hatje Cantz. pp. 43–44.
277:In 1937, Oppenheim returned to
227:Académie de la Grande Chaumière
97:Académie de la Grande Chaumière
1665:Meret Oppenheim: Retrospective
1648:Gardner's art through the ages
1471:Eve M. Kahn (August 8, 2013),
1450:Grace Glueck (June 28, 1996),
1173:Meret Oppenheim: Retrospective
887:Merets Funken = Meret's sparks
601:Art Award of the City of Basel
254:became important to her work.
162:Art Award of the City of Basel
1:
2517:Bureau of Surrealist Research
1490:Smith, Roberta (2022-11-17).
1070:‘’Beyond the Teacup,’’ p. 165
556:, Duisburg, Germany in 1975.
522:Fantastic Art Dada Surrealism
444:Le Désir attrapé par la queue
994:The lives of the surrealists
623:Spirale (der Gang der Natur)
561:Solomon R. Guggenheim Museum
1686:Galerie Krinzinger (1997).
840:Monteil, Annemarie (2010).
539:Art of This Century gallery
2750:
2719:20th-century Swiss artists
963:Lanchner, Carolyn (2017).
642:and the National Library.
448:Spring Banquet (Le Festin)
175:artist and photographer.
2679:German surrealist artists
2643:Paranoiac-critical method
1675:Meret Oppenheim: New York
1673:Oppenheim, Meret (1988).
687:"Encyclopedia Britannica"
500:Nonetheless, Oppenheim's
49:Meret Elisabeth Oppenheim
28:
2709:Women surrealist artists
2684:Swiss surrealist artists
2527:Chicago Surrealist Group
2512:British Surrealist Group
1657:Women Artists in History
1218:10.1525/gfc.2011.11.3.25
1210:10.1525/gfc.2011.11.3.25
992:Desmond, Morris (2018).
593:Méret Oppenheim Hochhaus
554:Wilhelm-Lehmbruck Museum
546:Moderna Museet Stockholm
518:New Burlington Galleries
476:Oppenheim and Surrealism
128:Object: Breakfast in Fur
1655:Slatkin, Wendy (2001).
1082:Performing Arts Journal
796:Caws, Mary Ann (1991).
599:Oppenheim received the
385:Le Déjeuner en fourrure
2638:Abstract expressionism
2507:Birmingham Surrealists
2196:Maxime Moses Alexandre
2173:Radojica Živanović Noe
1838:Jacques-André Boiffard
1730:Swiss National Library
1716:Swiss National Library
1238:. Museum of Modern Art
1232:"Meret Guy Oppenheim.
917:: CS1 maint: others (
619:Herzog & de Meuron
596:
550:Kunstmuseum Winterthur
534:Exhibition by 31 Women
266:, Switzerland, at the
213:androgynous creativity
2704:Waldorf school alumni
2608:Surrealist techniques
2593:Surrealist automatism
2537:Fighting Cock Society
2276:Roger Gilbert-Lecomte
2261:Vratislav Effenberger
2201:Guillaume Apollinaire
595:in Basel, Switzerland
590:
340:Dejeuner sur l’herbe.
338:with Edouard Manet's
2588:Surrealist Manifesto
2542:The Firesign Theatre
2326:Comte de Lautréamont
1753:Dates and a portrait
1667:. Hatje Cantz. 2013.
1588:Neue Zürcher Zeitung
1408:Museum of Modern Art
1060:. Hatje Cantz. 2013.
798:Surrealism and Women
648:On October 6, 2017,
352:Museum of Modern Art
311:(1936). Oppenheim's
2699:Swiss women artists
2694:Swiss photographers
2476:Marianne Van Hirtum
2451:Simon Watson Taylor
1913:Christian Dotremont
1742:Artcyclopedia entry
1543:. September 3, 2013
640:Museum of Fine Arts
612:Berliner Kunstpreis
284:Galerie René Drouin
208:animus-anima theory
2729:Surrealist artists
1953:Alberto Giacometti
1943:Gordon Onslow Ford
1878:Leonora Carrington
1758:Report and Picture
1496:The New York Times
597:
566:Martin-Gropius-Bau
321:Oppenheim created
268:Galerie Schulthess
235:Alberto Giacometti
2651:
2650:
2628:Women surrealists
2598:Surrealist cinema
2446:Philippe Soupault
2078:Benjamín Palencia
1616:. 6 October 2017.
1437:978-0-87070-771-1
1340:Pollock, Griselda
1307:"Meret Oppenheim"
1182:978-3-7757-3511-7
1003:978-0-500-02136-1
965:Oppenheim: Object
896:978-3-86678-678-3
851:978-3-7757-2590-3
823:Women Artist News
438:’s production of
418:Kunstmuseum Basel
346:was purchased by
272:Oppenheim: Object
166:
165:
2741:
2603:Surrealist music
2522:Chicago Imagists
2502:Les Automatistes
2441:Louis Scutenaire
2381:Vítězslav Nezval
2221:Georges Bataille
2138:Dorothea Tanning
2123:Jindřich Štyrský
2098:Aminollah Rezaei
1993:Jacqueline Lamba
1983:Gerome Kamrowski
1928:Curt Echtermeyer
1883:Ithell Colquhoun
1797:
1790:
1783:
1774:
1733:
1726:HelveticArchives
1701:
1682:
1668:
1660:
1651:
1618:
1617:
1606:
1600:
1599:
1597:
1595:
1580:
1574:
1573:
1571:
1569:
1559:
1553:
1552:
1550:
1548:
1533:
1527:
1520:
1514:
1513:
1511:
1510:
1487:
1481:
1469:
1460:
1448:
1442:
1441:
1417:
1411:
1402:
1396:
1386:
1380:
1379:
1373:
1365:
1332:
1326:
1325:
1323:
1322:
1313:. Archived from
1300:
1294:
1293:
1285:
1274:
1273:
1271:
1269:
1254:
1248:
1247:
1245:
1243:
1228:
1222:
1221:
1193:
1187:
1186:
1168:
1162:
1161:
1153:
1142:
1141:
1139:
1137:
1122:
1107:
1104:
1098:
1097:
1077:
1071:
1068:
1062:
1061:
1054:
1045:
1044:
1036:
1030:
1029:
1023:
1015:
989:
978:
975:
969:
968:
960:
939:
932:
923:
922:
916:
908:
883:
856:
855:
837:
831:
830:
818:
812:
811:
793:
787:
776:
770:
763:
754:
753:
742:
733:
726:
717:
713:
707:
704:
698:
697:
695:
693:
683:
609:
577:Sylvio Perlstein
529:Peggy Guggenheim
407:
138:Giacometti's Ear
124:
80:
77:15 November 1985
58:
56:
33:
19:
2749:
2748:
2744:
2743:
2742:
2740:
2739:
2738:
2654:
2653:
2652:
2647:
2576:
2485:
2416:Raymond Queneau
2411:Jacques Prévert
2401:Rastko Petrović
2361:Robert Melville
2341:Georges Limbour
2321:Philip Lamantia
2226:Monny de Boully
2188:
2182:
2168:James F. Walker
2158:Albert Valentin
2148:Kristians Tonny
2118:Martin Stejskal
2093:Toni del Renzio
2073:Wolfgang Paalen
2068:Méret Oppenheim
2048:E. L. T. Mesens
2013:Georges Malkine
1948:Esteban Francés
1908:Óscar Domínguez
1863:Jacques Brunius
1858:Emmy Bridgwater
1806:
1801:
1720:
1708:
1698:
1685:
1672:
1663:
1654:
1645:
1642:
1640:Further reading
1627:
1622:
1621:
1608:
1607:
1603:
1593:
1591:
1582:
1581:
1577:
1567:
1565:
1561:
1560:
1556:
1546:
1544:
1535:
1534:
1530:
1521:
1517:
1508:
1506:
1489:
1488:
1484:
1470:
1463:
1449:
1445:
1438:
1419:
1418:
1414:
1405:Meret Oppenheim
1403:
1399:
1387:
1383:
1366:
1354:
1336:Rozsika, Parker
1334:
1333:
1329:
1320:
1318:
1305:
1301:
1297:
1287:
1286:
1277:
1267:
1265:
1256:
1255:
1251:
1241:
1239:
1230:
1229:
1225:
1195:
1194:
1190:
1183:
1170:
1169:
1165:
1155:
1154:
1145:
1135:
1133:
1124:
1123:
1110:
1105:
1101:
1079:
1078:
1074:
1069:
1065:
1056:
1055:
1048:
1038:
1037:
1033:
1016:
1004:
991:
990:
981:
976:
972:
962:
961:
942:
933:
926:
909:
897:
885:
884:
859:
852:
839:
838:
834:
820:
819:
815:
808:
795:
794:
790:
786:August 2, 2022.
777:
773:
764:
757:
744:
743:
736:
727:
720:
714:
710:
705:
701:
691:
689:
685:
684:
680:
675:
631:
603:
585:
574:diamond magnate
510:
478:
467:. In this year
405:
260:
252:Francis Picabia
181:
136:
131:
122:
88:
82:
78:
69:
60:
54:
52:
51:
50:
40:
24:
23:Méret Oppenheim
17:
12:
11:
5:
2747:
2745:
2737:
2736:
2731:
2726:
2721:
2716:
2711:
2706:
2701:
2696:
2691:
2686:
2681:
2676:
2671:
2666:
2656:
2655:
2649:
2648:
2646:
2645:
2640:
2635:
2630:
2625:
2620:
2615:
2613:Surreal humour
2610:
2605:
2600:
2595:
2590:
2584:
2582:
2578:
2577:
2575:
2574:
2569:
2564:
2559:
2554:
2549:
2544:
2539:
2534:
2529:
2524:
2519:
2514:
2509:
2504:
2499:
2493:
2491:
2487:
2486:
2484:
2483:
2478:
2473:
2468:
2463:
2458:
2453:
2448:
2443:
2438:
2436:Georges Sadoul
2433:
2428:
2426:Pierre Reverdy
2423:
2418:
2413:
2408:
2403:
2398:
2396:Benjamin Péret
2393:
2388:
2383:
2378:
2376:Pierre Naville
2373:
2368:
2363:
2358:
2353:
2348:
2343:
2338:
2333:
2331:Marcel Lecomte
2328:
2323:
2318:
2313:
2308:
2303:
2298:
2296:Georges Hugnet
2293:
2288:
2283:
2278:
2273:
2271:Renée Gauthier
2268:
2263:
2258:
2253:
2248:
2243:
2238:
2236:Roger Caillois
2233:
2228:
2223:
2218:
2213:
2211:Antonin Artaud
2208:
2203:
2198:
2192:
2190:
2184:
2183:
2181:
2180:
2175:
2170:
2165:
2160:
2155:
2150:
2145:
2140:
2135:
2130:
2128:Maurice Tabard
2125:
2120:
2115:
2110:
2108:Kurt Seligmann
2105:
2100:
2095:
2090:
2085:
2083:Roland Penrose
2080:
2075:
2070:
2065:
2060:
2058:Desmond Morris
2055:
2050:
2045:
2040:
2035:
2030:
2025:
2020:
2015:
2010:
2005:
2000:
1995:
1990:
1985:
1980:
1975:
1973:Valentine Hugo
1970:
1968:Jacques Hérold
1965:
1960:
1958:Julio González
1955:
1950:
1945:
1940:
1935:
1930:
1925:
1923:Marcel Duhamel
1920:
1918:Marcel Duchamp
1915:
1910:
1905:
1900:
1895:
1890:
1885:
1880:
1875:
1870:
1865:
1860:
1855:
1850:
1848:Victor Brauner
1845:
1840:
1835:
1830:
1825:
1820:
1814:
1812:
1808:
1807:
1802:
1800:
1799:
1792:
1785:
1777:
1771:
1770:
1765:
1760:
1755:
1750:
1744:
1739:
1734:
1718:
1707:
1706:External links
1704:
1703:
1702:
1696:
1683:
1670:
1661:
1652:
1641:
1638:
1637:
1636:
1633:
1626:
1623:
1620:
1619:
1601:
1575:
1554:
1528:
1515:
1482:
1477:New York Times
1461:
1456:New York Times
1443:
1436:
1412:
1397:
1381:
1352:
1342:(1981-10-29).
1327:
1295:
1275:
1249:
1223:
1188:
1181:
1163:
1143:
1108:
1099:
1072:
1063:
1046:
1031:
1002:
979:
970:
940:
924:
895:
857:
850:
832:
813:
806:
788:
771:
755:
734:
728:Bice Curiger,
718:
708:
699:
677:
676:
674:
671:
630:
627:
584:
581:
509:
506:
477:
474:
436:Daniel Spoerri
259:
256:
244:Marcel Duchamp
180:
177:
164:
163:
160:
156:
155:
146:
142:
141:
125:
119:
118:
105:
104:Known for
101:
100:
94:
90:
89:
83:
81:(aged 72)
75:
71:
70:
61:
59:6 October 1913
48:
46:
42:
41:
34:
26:
25:
22:
15:
13:
10:
9:
6:
4:
3:
2:
2746:
2735:
2732:
2730:
2727:
2725:
2722:
2720:
2717:
2715:
2712:
2710:
2707:
2705:
2702:
2700:
2697:
2695:
2692:
2690:
2687:
2685:
2682:
2680:
2677:
2675:
2672:
2670:
2667:
2665:
2662:
2661:
2659:
2644:
2641:
2639:
2636:
2634:
2631:
2629:
2626:
2624:
2621:
2619:
2616:
2614:
2611:
2609:
2606:
2604:
2601:
2599:
2596:
2594:
2591:
2589:
2586:
2585:
2583:
2579:
2573:
2570:
2568:
2565:
2563:
2560:
2558:
2557:La Mandrágora
2555:
2553:
2550:
2548:
2545:
2543:
2540:
2538:
2535:
2533:
2530:
2528:
2525:
2523:
2520:
2518:
2515:
2513:
2510:
2508:
2505:
2503:
2500:
2498:
2495:
2494:
2492:
2488:
2482:
2479:
2477:
2474:
2472:
2471:Jacques Vaché
2469:
2467:
2466:Tristan Tzara
2464:
2462:
2459:
2457:
2456:André Thirion
2454:
2452:
2449:
2447:
2444:
2442:
2439:
2437:
2434:
2432:
2429:
2427:
2424:
2422:
2419:
2417:
2414:
2412:
2409:
2407:
2406:Francis Ponge
2404:
2402:
2399:
2397:
2394:
2392:
2389:
2387:
2384:
2382:
2379:
2377:
2374:
2372:
2369:
2367:
2364:
2362:
2359:
2357:
2354:
2352:
2351:Joyce Mansour
2349:
2347:
2344:
2342:
2339:
2337:
2336:Michel Leiris
2334:
2332:
2329:
2327:
2324:
2322:
2319:
2317:
2316:Jacques Lacan
2314:
2312:
2309:
2307:
2304:
2302:
2299:
2297:
2294:
2292:
2289:
2287:
2284:
2282:
2279:
2277:
2274:
2272:
2269:
2267:
2264:
2262:
2259:
2257:
2256:Robert Desnos
2254:
2252:
2249:
2247:
2244:
2242:
2241:Nicolas Calas
2239:
2237:
2234:
2232:
2229:
2227:
2224:
2222:
2219:
2217:
2216:Jacques Baron
2214:
2212:
2209:
2207:
2204:
2202:
2199:
2197:
2194:
2193:
2191:
2185:
2179:
2176:
2174:
2171:
2169:
2166:
2164:
2163:Remedios Varo
2161:
2159:
2156:
2154:
2151:
2149:
2146:
2144:
2141:
2139:
2136:
2134:
2131:
2129:
2126:
2124:
2121:
2119:
2116:
2114:
2111:
2109:
2106:
2104:
2101:
2099:
2096:
2094:
2091:
2089:
2086:
2084:
2081:
2079:
2076:
2074:
2071:
2069:
2066:
2064:
2061:
2059:
2056:
2054:
2051:
2049:
2046:
2044:
2043:John Melville
2041:
2039:
2036:
2034:
2033:Mikuláš Medek
2031:
2029:
2028:Roberto Matta
2026:
2024:
2021:
2019:
2018:Marcel Mariën
2016:
2014:
2011:
2009:
2008:René Magritte
2006:
2004:
2003:Conroy Maddox
2001:
1999:
1996:
1994:
1991:
1989:
1986:
1984:
1981:
1979:
1976:
1974:
1971:
1969:
1966:
1964:
1963:Jane Graverol
1961:
1959:
1956:
1954:
1951:
1949:
1946:
1944:
1941:
1939:
1936:
1934:
1931:
1929:
1926:
1924:
1921:
1919:
1916:
1914:
1911:
1909:
1906:
1904:
1901:
1899:
1898:Jean Dallaire
1896:
1894:
1893:Salvador Dalí
1891:
1889:
1886:
1884:
1881:
1879:
1876:
1874:
1871:
1869:
1866:
1864:
1861:
1859:
1856:
1854:
1853:Fanny Brennan
1851:
1849:
1846:
1844:
1841:
1839:
1836:
1834:
1831:
1829:
1826:
1824:
1821:
1819:
1816:
1815:
1813:
1809:
1805:
1798:
1793:
1791:
1786:
1784:
1779:
1778:
1775:
1769:
1766:
1764:
1761:
1759:
1756:
1754:
1751:
1748:
1745:
1743:
1740:
1738:
1735:
1731:
1727:
1723:
1719:
1717:
1713:
1710:
1709:
1705:
1699:
1697:3-900683-02-6
1693:
1689:
1684:
1680:
1679:Kent Fine Art
1676:
1671:
1666:
1662:
1658:
1653:
1649:
1644:
1643:
1639:
1634:
1632:
1629:
1628:
1624:
1615:
1611:
1605:
1602:
1589:
1585:
1579:
1576:
1564:
1558:
1555:
1542:
1541:The Economist
1538:
1532:
1529:
1525:
1519:
1516:
1505:
1501:
1497:
1493:
1486:
1483:
1479:
1478:
1474:
1468:
1466:
1462:
1458:
1457:
1453:
1447:
1444:
1439:
1433:
1429:
1425:
1424:
1416:
1413:
1409:
1406:
1401:
1398:
1395:
1394:3-85696-006-6
1391:
1385:
1382:
1377:
1371:
1363:
1359:
1355:
1353:0-7100-0879-1
1349:
1345:
1341:
1337:
1331:
1328:
1317:on 2012-04-06
1316:
1312:
1308:
1303:
1299:
1296:
1291:
1284:
1282:
1280:
1276:
1264:
1260:
1253:
1250:
1237:
1235:
1227:
1224:
1219:
1215:
1211:
1207:
1203:
1199:
1192:
1189:
1184:
1178:
1174:
1167:
1164:
1159:
1152:
1150:
1148:
1144:
1132:
1128:
1121:
1119:
1117:
1115:
1113:
1109:
1103:
1100:
1095:
1091:
1087:
1083:
1076:
1073:
1067:
1064:
1059:
1053:
1051:
1047:
1042:
1035:
1032:
1027:
1021:
1013:
1009:
1005:
999:
995:
988:
986:
984:
980:
974:
971:
966:
959:
957:
955:
953:
951:
949:
947:
945:
941:
937:
931:
929:
925:
920:
914:
906:
902:
898:
892:
888:
882:
880:
878:
876:
874:
872:
870:
868:
866:
864:
862:
858:
853:
847:
843:
836:
833:
828:
824:
817:
814:
809:
807:0-262-53098-8
803:
799:
792:
789:
785:
784:cosmopolis.ch
781:
775:
772:
768:
762:
760:
756:
751:
750:The Economist
747:
741:
739:
735:
731:
725:
723:
719:
712:
709:
703:
700:
688:
682:
679:
672:
670:
668:
667:
666:Gloria's Call
662:
657:
655:
654:Google Doodle
651:
646:
643:
641:
635:
628:
626:
624:
620:
615:
613:
607:
602:
594:
589:
582:
580:
578:
575:
571:
567:
562:
559:In 1996, the
557:
555:
551:
547:
542:
541:in New York.
540:
536:
535:
530:
525:
523:
520:, London and
519:
515:
507:
505:
503:
498:
494:
492:
486:
484:
475:
473:
470:
466:
461:
457:
454:
449:
445:
441:
437:
432:
428:
425:
421:
419:
415:
409:
404:
403:
396:
394:
390:
386:
382:
378:
373:
369:
364:
359:
357:
353:
349:
345:
341:
337:
336:Venus in Furs
333:
329:
324:
319:
314:
310:
309:
303:
301:
297:
293:
289:
285:
280:
275:
273:
269:
265:
257:
255:
253:
249:
245:
240:
236:
232:
228:
223:
221:
216:
214:
210:
209:
204:
199:
197:
192:
191:
186:
178:
176:
174:
170:
161:
157:
154:
153:Conceptualism
150:
147:
143:
139:
134:
129:
126:
120:
117:
113:
109:
106:
102:
98:
95:
91:
87:, Switzerland
86:
76:
72:
68:
67:German Empire
64:
47:
43:
38:
32:
27:
20:
2567:Refus Global
2562:Monty Python
2481:Roger Vitrac
2461:Dylan Thomas
2431:Marko Ristić
2421:Herbert Read
2306:Nelly Kaplan
2301:Alfred Jarry
2291:Irène Hamoir
2286:Julien Gracq
2231:André Breton
2206:Louis Aragon
2113:André Souris
2067:
2038:Oscar Mellor
2023:André Masson
1903:Paul Delvaux
1873:Claude Cahun
1833:Hans Bellmer
1828:Eugène Atget
1725:
1687:
1677:. New York:
1674:
1664:
1656:
1647:
1613:
1604:
1592:. Retrieved
1587:
1578:
1566:. Retrieved
1557:
1545:. Retrieved
1540:
1531:
1523:
1518:
1507:. Retrieved
1495:
1485:
1475:
1454:
1446:
1422:
1415:
1400:
1384:
1343:
1330:
1319:. Retrieved
1315:the original
1310:
1298:
1289:
1266:. Retrieved
1262:
1252:
1240:. Retrieved
1233:
1226:
1204:(3): 25–28.
1201:
1198:Gastronomica
1197:
1191:
1172:
1166:
1157:
1134:. Retrieved
1130:
1102:
1088:(1): 46–51.
1085:
1081:
1075:
1066:
1057:
1040:
1034:
993:
973:
964:
935:
886:
841:
835:
826:
822:
816:
797:
791:
779:
774:
766:
749:
729:
711:
702:
690:. Retrieved
681:
665:
661:Cheri Gaulke
658:
647:
644:
636:
632:
622:
616:
598:
592:
558:
543:
532:
526:
521:
513:
511:
501:
499:
495:
490:
487:
482:
479:
468:
464:
462:
458:
452:
447:
443:
433:
429:
426:
422:
410:
400:
397:
388:
384:
376:
371:
367:
362:
361:Oppenheim's
360:
355:
343:
339:
335:
331:
327:
322:
317:
312:
306:
304:
276:
271:
261:
239:André Breton
224:
218:The work of
217:
212:
207:
200:
196:Alfred Kubin
188:
182:
168:
167:
137:
132:
127:
123:Notable work
79:(1985-11-15)
36:
35:Negative of
2669:1985 deaths
2664:1913 births
2356:Dušan Matić
2266:Paul Éluard
2251:René Daumal
2246:René Crevel
2187:Writers and
2143:Karel Teige
2133:Yves Tanguy
1988:Wifredo Lam
1978:Frida Kahlo
1938:Leonor Fini
1868:Luis Buñuel
1843:Bill Brandt
1818:Eileen Agar
1590:(in German)
1410:, New York.
604: [
583:Recognition
570:David Bowie
508:Exhibitions
465:documenta 7
402:Le Déjeuner
348:Alfred Barr
296:Leonor Fini
288:Rene Drouin
286:started by
190:Green Henry
2658:Categories
2552:Grup d'Elx
2532:Dau al Set
2386:Paul Nougé
2371:Max Morise
2366:René Ménil
2178:Unica Zürn
2053:Lee Miller
1804:Surrealism
1509:2023-01-12
1346:. London.
1321:2011-07-14
996:. London.
934:"Curiger,
765:"Curiger,
673:References
179:Early life
173:Surrealist
149:Surrealism
55:1913-10-06
2547:The Goons
2391:Paul Păun
2346:Léo Malet
2311:Petr Král
2281:Yvan Goll
2189:Theorists
2063:Joan Miró
1998:Dora Maar
1933:Max Ernst
1888:Gala Dalí
1547:March 28,
1504:0362-4331
1370:cite book
1268:March 28,
1136:March 20,
1131:Glasstire
1020:cite book
1012:992572137
913:cite book
905:832239222
414:Gruppe 33
381:souvenirs
300:Max Ernst
248:Max Ernst
220:Paul Klee
203:Carl Jung
112:Sculpture
93:Education
2497:Acéphale
2103:Kay Sage
1823:Jean Arp
938:, p.267"
936:Defiance
829:: 30–32.
767:Defiance
531:'s show
442:’s play
393:Freudian
231:Hans Arp
145:Movement
133:My Nurse
108:Painting
2581:Related
2088:Man Ray
1811:Artists
1625:Sources
1594:18 June
1568:18 June
1362:8160325
1263:npr.org
1242:11 July
1236:. 1936"
1094:3245744
769:, p.10"
537:at the
440:Picasso
328:Object,
2490:Groups
1749:, film
1694:
1614:Google
1502:
1434:
1392:
1360:
1350:
1234:Object
1216:
1179:
1092:
1010:
1000:
903:
893:
848:
804:
692:May 7,
650:Google
629:Legacy
502:Object
483:Object
389:Object
377:Object
372:Object
368:Object
363:Object
344:Object
332:Object
323:Object
318:Object
313:Object
258:Career
250:, and
185:Berlin
159:Awards
140:(1933)
135:(1936)
130:(1936)
116:Poetry
63:Berlin
2153:Toyen
1311:LACMA
1214:JSTOR
1090:JSTOR
608:]
406:'
383:" of
292:Paris
279:Basel
264:Basel
85:Basel
2633:Dada
1692:ISBN
1596:2019
1570:2019
1549:2017
1500:ISSN
1432:ISBN
1390:ISBN
1376:link
1358:OCLC
1348:ISBN
1304:and
1270:2017
1244:2011
1177:ISBN
1138:2023
1026:link
1008:OCLC
998:ISBN
919:link
901:OCLC
891:ISBN
846:ISBN
802:ISBN
694:2018
591:The
552:and
298:and
233:and
74:Died
45:Born
39:1964
1206:doi
716:37.
290:in
2660::
1728:.
1724:.
1612:.
1586:.
1539:.
1498:.
1494:.
1464:^
1430:.
1428:45
1372:}}
1368:{{
1356:.
1338:;
1309:.
1278:^
1261:.
1212:.
1202:11
1200:.
1146:^
1129:.
1111:^
1086:19
1084:.
1049:^
1022:}}
1018:{{
1006:.
982:^
943:^
927:^
915:}}
911:{{
899:.
860:^
827:11
825:.
758:^
748:.
737:^
721:^
669:.
663:,
656:.
625:.
614:.
606:de
516:,
420:.
387:.
246:,
151:,
114:,
110:,
65:,
1796:e
1789:t
1782:v
1732:.
1700:.
1681:.
1598:.
1572:.
1551:.
1512:.
1480:.
1459:.
1440:.
1378:)
1364:.
1324:.
1272:.
1246:.
1220:.
1208::
1185:.
1140:.
1096:.
1028:)
1014:.
921:)
907:.
854:.
810:.
752:.
696:.
57:)
53:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
