Meret Oppenheim, Luncheon in Fur, 1936 Art student in paris when she became associated with the Surrealist group; women had an easier time associating themselves within Surrealist circles than Dada, but Surrealists still viewed women more as muses than creators of art  Described as the quintessential surrealist object  On the surface, the fur is quite appealing, but that fur renders the object illogical and useless; undermines the intended function on the objects.   Example of dislocated realism; it’s a useable, realistic object that have been juxtaposed in a completely illogical way

Meret Oppenheim, Luncheon in Fur, 1936

  • Art student in paris when she became associated with the Surrealist group; women had an easier time associating themselves within Surrealist circles than Dada, but Surrealists still viewed women more as muses than creators of art 
  • Described as the quintessential surrealist object 
  • On the surface, the fur is quite appealing, but that fur renders the object illogical and useless; undermines the intended function on the objects.  
  • Example of dislocated realism; it’s a useable, realistic object that have been juxtaposed in a completely illogical way
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artwhat.

during my first ever survey of western art class, my professor explained the difference between historians and art historians. historians, she said, were interested in old things. art historians, on the other hand, were interested in old things of quality. you don't hang garbage up on the walls of a museum; it has to be substantial and it has to mean something. so here you go; old things, made mostly by dudes long dead, of debatable degrees of quality but always with a constant level of importance. think of this as a deck of flash cards... sans the whole cards part.

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