281:. 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
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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.
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222:. 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
369:. 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).
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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.”
209:, 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.
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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
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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
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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,
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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.
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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
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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.
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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
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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
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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
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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
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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
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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
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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
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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
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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.
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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,
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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
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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.
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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
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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
248:. 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
717:“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”
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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
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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
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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,
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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.
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313:. 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.
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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
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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,
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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
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demonstrate to society by the invalidity of taboos by adopting unconventional ways of life” and utilize their intellect as a creative strength without fear.
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Levy Galerie, founded in 1970 by Hamburg resident Thomas Levy, represents the estate of Meret Oppenheim, in close collaboration with the artist's family.
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maternal grandparents in Delémont, Switzerland. In Switzerland, Oppenheim was exposed to a plethora of art and artists from a young age, including
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in Berlin, gathering the artist's paintings, sketches, sculptures, masks, clothing, furniture, and jewelry. Lenders included singer
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through her father and was inspired to record her dreams. Oppenheim was interested in Jung's analytical approach, particularly his
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persists as an example of “Surrealist fetishism,” as its function follows its form; the fur on the cup renders it not functional.
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s creator, the photographs provided an unmistakable monument to her femininity and a testimony to her unwillingness to expose it.
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590:. In 2022, MoMA put on a retrospective exhibition that highlighted Oppenheim's continuous production over her lengthy career.
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In 1936, at the beginning of her career, Oppenheim was included in two important Surrealist exhibitions outside of Paris:
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Josef Helfenstein, "Against the Intolerability of Fame: Meret Oppenheim and Surrealism," in ‘‘Beyond the Teacup,’’ p. 24
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sometimes would mentor younger artists. In 1968 Oppenheim had a solo exhibition at the Galerie Martin Krebs in Bern.
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which was rendered dysfunctional. The artwork's long title was created by Breton (Oppenheim referred to it simply as
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in 1967. In Switzerland, her first retrospective was held at Museum der Stadt, Solothurn (1974) and traveled to
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In May 1932, at the age of 18, Oppenheim moved to Paris from Basel, Switzerland and sporadically attended the
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in Berne. She and artist Lilly Keller were cast as the curtains. Three years later, in 1959, she organized a
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Abbi Jacobson and Anne Umland discuss Meret Oppenheim's Object, A Piece of Work podcast, WNYC Studios/MoMA
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1169:"From Dejeuner en fourrure to Caroline: Meret Oppenheim's Chronicle of Surrealism" Surrealism and Women
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she was described as having embodied and "personified male Surrealism's ideal of the 'femme-enfant.'
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Young, Lisa Jaye; Qualls, Larry (1997-01-01). "Nobody Will Give You Freedom You Have to Take It".
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Oppenheim kept a studio in Bern since 1954 and lived there permanently from 1967 until her death.
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artists such as Marcel Duchamp, Max Ernst, and Man Ray. The conceptual approach favored by
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632:) all named after Oppenheim in the city center. The large fountain features her sculpture
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In 2019, Basel inaugurated a plaza, road, fountain and a high-rise apartment building (by
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With Photographs by Heinrich Helfenstein. Translated from German by Catherine Schelbert.
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900:. Bühler, Kathleen; Oppenheim, Meret; Kunstmuseum Bern. Bielefeld: Kerber Verlag. 2013.
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Belinda Grace Gardner, "From 'Breakfast in Fur' and Back Again," in Thomas Levy, ed.,
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Eipeldauer, Heike (2013). "Meret Oppenheim's Masquerades". In Brugger, Ingried (ed.).
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In 1982 Oppenheim won the Berlin Art Prize and was featured in Rudi Fuchs’ exhibition
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Irene Meier, in ″Gruppe 33″, Editions Galerie zem Specht, 1983, Basel, page 405.
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York art scenes, including Salvador Dalí and Giacommetti. After the exhibion of
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Oppenheim, Méret. "Meret Oppenheim: Beyond the Teacup." New York, 1996. Print.
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Chadwick, Whitney. "Oppenheim, Meret." Grove Art Online. Oxford Art Online.
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lens, and has been seen in a symbolic sense as a female sexual reference.
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in her art in which masculine and feminine aspects worked simultaneously.
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Mifflin, Margot (September 1986). "An Interview with Meret Oppenheim".
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in New York, where it was included in the museum's landmark exhibition
305:. In the exhibition she was featured alongside many artists, including
1699:'Meret Oppenheim: eine andere Retrospektive. A different retrospective
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1270:"'Luncheon In Fur': The Surrealist Teacup That Stirred The Art World"
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finish much of what she created. In Basel she became a member of the
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Burckhardt, Jacqueline; Curiger, Bice (1996). Capp, Robbie (ed.).
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Burckhardt, Jacqueline; Curiger, Bice (1996). Capp, Robbie (ed.).
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182:(6 October 1913 – 15 November 1985) was a German-born Swiss
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1595:"Das Meret-Oppenheim-Hochhaus in Basel: Ein kolossaler Elefant"
1661:(12th ed.). USA: Thompson Learning Co. pp. 999–1000.
1303:. New York, NY: Independent Curators Incorporated. p. 29.
1054:. New York, NY: Independent Curators Incorporated. p. 24.
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In 2018, Oppenheim was the subject of a short documentary by
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In 1936, Meret Oppenheim had her first solo exhibition in
1670:(4th ed.). USA: Pearson Education. pp. 203–204.
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1503:"Meret Oppenheim: Enough With That Tempest in a Teacup"
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Modern Women: Women Artists at The Museum of Modern Art
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Caws, Mary Ann (2011). "Meret Oppenheim's Fur Teacup".
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In 1956, Oppenheim designed the costumes and masks for
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Meret Oppenheim: From Breakfast in Fur and Back Again
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Man Ray anointed Oppenheim as "Surrealism's 'muse.'"
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By 1928, Oppenheim was introduced to the writings of
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427:and participated in their group shows, 1945 in the
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1548:"The artwork of Meret Oppenheim: A surreal legacy"
1138:"Seeing Meret Oppenheim Whole: 'My Retrospective'"
1431:Butler, Cornelia H.; Schwartz, Alexandra (2010).
649:entrusted to institutions in Bern, including the
1537:(Bielefeld, Germany: Kerber Verlag, 2003), p. 7.
741:Meret Oppenheim: Defiance in the Face of Freedom
480:Meret Oppenheim: Defiance in the Face of Freedom
464:Exposition inteRnatiOnale du Surrealisme (EROS),
1657:Kleiner, Fred S.; Mamiya, Christian J. (2005).
1701:. Graphische Kunstanstalt - Otto Sares, Wien.
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1355:Old mistresses : women, art, and ideology
555:Oppenheim's first retrospective was hosted by
345:), who combined Leopold Sacher-Masoch's novel
337:experienced various emotions as they observed
194:Meret Oppenheim was born on 6 October 1913 in
2685:Alumni of the Académie de la Grande Chaumière
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1484:Meret Oppenheim’s Works at Martin-Gropius-Bau
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1186:. Vienna, Austria: Hatje Cantz. p. 17.
811:. Cambridge, MA: The MIT Press. p. 64.
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402:has also been widely interpreted through a
2634:London International Surrealist Exhibition
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1437:. New York: Museum of Modern Art. p.
1385:: CS1 maint: location missing publisher (
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743:(Cambridge, MA: The MIT Press, 1989), p. 9
538:In 1943, Oppenheim's work was included in
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27:German-Swiss surrealist artist (1913–1985)
1723:Publications by and about Méret Oppenheim
2629:Exposition Internationale du Surréalisme
1167:Riese Hubert, Renee (1993). Caws (ed.).
1171:. Cambridge, MA: MIT Press. p. 39.
791:Meret Oppenheim — Mein Album / My Album
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525:The International Surrealist Exhibition
1748:Small gallery of Meret Oppenheim works
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1136:Cordova, Ruben C. (December 2, 2022).
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1733:"Literary estate of Méret Oppenheim"
757:"A surreal legacy, A surreal legacy"
180:Meret (or Méret) Elisabeth Oppenheim
1725:in the catalogue Helveticat of the
853:Meret Oppenheim: Brunnengeschichten
1758:IMAGO: Meret Oppenheim (1988/1996)
1621:"Meret Oppenheim's 104th Birthday"
1301:Meret Oppenheim: Beyond the Teacup
1268:Matyris, Nina (February 9, 2016).
1117:Whitney Chadwick, Grove Art Online
1052:Meret Oppenheim: Beyond the Teacup
978:. Museum of Modern Art. p. 7.
789:Lisa Wenger and Martina Corgnati:
442:Daniel Spoerri, and Markus Raetz.
367:Fantastic Art: Dada and Surrealism
316:Oppenheim's best known artwork is
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2583:The Surrealist Group in Stockholm
1574:"Meret Oppenheim High-rise (MOH)"
353:During the year of its creation,
110:, Basel School of Arts and Crafts
48:X-Ray of Meret Oppenheim’s Skull,
2735:20th-century Swiss photographers
2725:20th-century women photographers
1779:Meret Oppenheim on MoMA Learning
1463:After a Furry Teacup, What Then?
1069:Meret Oppenheim: A Retrospective
502:Sitting Figure with Folded Hands
319:Object (Le Déjeuner en fourrure)
2745:German emigrants to Switzerland
855:. Hatje Cantz. pp. 43–44.
288:In 1937, Oppenheim returned to
238:Académie de la Grande Chaumière
108:Académie de la Grande Chaumière
1676:Meret Oppenheim: Retrospective
1659:Gardner's art through the ages
1482:Eve M. Kahn (August 8, 2013),
1461:Grace Glueck (June 28, 1996),
1184:Meret Oppenheim: Retrospective
898:Merets Funken = Meret's sparks
612:Art Award of the City of Basel
265:became important to her work.
173:Art Award of the City of Basel
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2528:Bureau of Surrealist Research
1501:Smith, Roberta (2022-11-17).
1081:‘’Beyond the Teacup,’’ p. 165
567:, Duisburg, Germany in 1975.
533:Fantastic Art Dada Surrealism
455:Le Désir attrapé par la queue
1005:The lives of the surrealists
634:Spirale (der Gang der Natur)
572:Solomon R. Guggenheim Museum
1697:Galerie Krinzinger (1997).
851:Monteil, Annemarie (2010).
550:Art of This Century gallery
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2730:20th-century Swiss artists
974:Lanchner, Carolyn (2017).
653:and the National Library.
459:Spring Banquet (Le Festin)
186:artist and photographer.
2690:German surrealist artists
2654:Paranoiac-critical method
1686:Meret Oppenheim: New York
1684:Oppenheim, Meret (1988).
698:"Encyclopedia Britannica"
511:Nonetheless, Oppenheim's
60:Meret Elisabeth Oppenheim
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2720:Women surrealist artists
2695:Swiss surrealist artists
2538:Chicago Surrealist Group
2523:British Surrealist Group
1668:Women Artists in History
1229:10.1525/gfc.2011.11.3.25
1221:10.1525/gfc.2011.11.3.25
1003:Desmond, Morris (2018).
604:Méret Oppenheim Hochhaus
565:Wilhelm-Lehmbruck Museum
557:Moderna Museet Stockholm
529:New Burlington Galleries
487:Oppenheim and Surrealism
139:Object: Breakfast in Fur
1666:Slatkin, Wendy (2001).
1093:Performing Arts Journal
807:Caws, Mary Ann (1991).
610:Oppenheim received the
396:Le Déjeuner en fourrure
2649:Abstract expressionism
2518:Birmingham Surrealists
2207:Maxime Moses Alexandre
2184:Radojica Živanović Noe
1849:Jacques-André Boiffard
1741:Swiss National Library
1727:Swiss National Library
1249:. Museum of Modern Art
1243:"Meret Guy Oppenheim.
928:: CS1 maint: others (
630:Herzog & de Meuron
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561:Kunstmuseum Winterthur
545:Exhibition by 31 Women
277:, Switzerland, at the
224:androgynous creativity
2715:Waldorf school alumni
2619:Surrealist techniques
2604:Surrealist automatism
2548:Fighting Cock Society
2287:Roger Gilbert-Lecomte
2272:Vratislav Effenberger
2212:Guillaume Apollinaire
606:in Basel, Switzerland
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351:Dejeuner sur l’herbe.
349:with Edouard Manet's
2599:Surrealist Manifesto
2553:The Firesign Theatre
2337:Comte de Lautréamont
1764:Dates and a portrait
1678:. Hatje Cantz. 2013.
1599:Neue Zürcher Zeitung
1419:Museum of Modern Art
1071:. Hatje Cantz. 2013.
809:Surrealism and Women
659:On October 6, 2017,
363:Museum of Modern Art
322:(1936). Oppenheim's
2710:Swiss women artists
2705:Swiss photographers
2487:Marianne Van Hirtum
2462:Simon Watson Taylor
1924:Christian Dotremont
1753:Artcyclopedia entry
1554:. September 3, 2013
651:Museum of Fine Arts
623:Berliner Kunstpreis
295:Galerie René Drouin
219:animus-anima theory
2740:Surrealist artists
1964:Alberto Giacometti
1954:Gordon Onslow Ford
1889:Leonora Carrington
1769:Report and Picture
1507:The New York Times
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577:Martin-Gropius-Bau
332:Oppenheim created
279:Galerie Schulthess
246:Alberto Giacometti
2662:
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2639:Women surrealists
2609:Surrealist cinema
2457:Philippe Soupault
2089:Benjamín Palencia
1627:. 6 October 2017.
1448:978-0-87070-771-1
1351:Pollock, Griselda
1318:"Meret Oppenheim"
1193:978-3-7757-3511-7
1014:978-0-500-02136-1
976:Oppenheim: Object
907:978-3-86678-678-3
862:978-3-7757-2590-3
834:Women Artist News
449:’s production of
429:Kunstmuseum Basel
357:was purchased by
283:Oppenheim: Object
177:
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16:(Redirected from
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2614:Surrealist music
2533:Chicago Imagists
2513:Les Automatistes
2452:Louis Scutenaire
2392:Vítězslav Nezval
2232:Georges Bataille
2149:Dorothea Tanning
2134:Jindřich Štyrský
2109:Aminollah Rezaei
2004:Jacqueline Lamba
1994:Gerome Kamrowski
1939:Curt Echtermeyer
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2104:Toni del Renzio
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2079:Méret Oppenheim
2059:E. L. T. Mesens
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