Meret Oppenheim, a name synonymous with the Surrealist movement, was a trailblazer whose work continues to captivate and inspire. Born on October 6, 1913, in Berlin, Germany, Oppenheim’s journey into the world of art was as unconventional as the pieces she created.
From a young age, Oppenheim was encouraged by her family to pursue her artistic inclinations. Her father, a German-Jewish doctor, and her maternal grandmother, a Swiss author and illustrator, played pivotal roles in nurturing her creativity. The outbreak of World War I forced the family to move to Switzerland, where Oppenheim’s artistic journey truly began.
In 1932, Oppenheim moved to Paris, the epicenter of the avant-garde art scene. It was here that she met influential artists like Alberto Giacometti, Man Ray, and André Breton. Her association with these luminaries quickly integrated her into the Surrealist circle. Oppenheim’s unique perspective and daring creativity set her apart, and she soon became a muse and collaborator for many, including Man Ray, who famously photographed her in the provocative "Érotique Voilée."
Object (Le Déjeuner en Fourrure) (1936)
The idea for this piece originated from a conversation between Oppenheim, Pablo Picasso, and Dora Maar at a Paris café in 1936. Picasso admired a fur-covered bracelet Oppenheim was wearing and remarked that one could cover anything with fur. Oppenheim playfully responded, "Even this cup and saucer."
The artwork consists of a teacup, saucer, and spoon, all covered in the fur of a Chinese gazelle. This transformation of everyday objects into something surreal and tactile challenges the viewer’s perceptions and evokes a sense of both attraction and repulsion. The fur, typically associated with warmth and comfort, contrasts sharply with the cold, hard surfaces of the tea set, creating a jarring yet intriguing experience.
The piece was later displayed at the Museum of Modern Art (MoMA) in New York during the “Fantastic Art, Dada, Surrealism” exhibition in 1936-1937. It quickly became a symbol of the Surrealist movement and was selected by visitors as the quintessential Surrealist object. Alfred H. Barr, Jr., the museum’s director, noted that the piece captured the popular imagination, eliciting a range of reactions from rage to delight.
My Nurse (Ma Gouvernante) (1936)
Created in 1936, My Nurse consists of a pair of white high-heeled shoes trussed together like a roast chicken and placed on a silver platter. The heels are adorned with white paper frills, similar to those used for garnishing poultry. This piece was first exhibited in Paris and later became part of the collection at the Moderna Museet in Stockholm.
By incorporating objects linked to both fashion and cooking, Oppenheim critiques traditional female roles and the domestic sphere. The high-heeled shoes symbolize femininity and the societal expectations placed on women. Additionally, the piece explores fetishism, as shoes often serve as objects of fetishistic desire. The trussing of the shoes introduces a layer of eroticism and subversion.
Spring Feast (Frühlingsfest) (1959)
Spring Feast (Frühlingsfest) is a provocative performance piece by Oppenheim, first created for a private gathering of close friends in Bern and later reproduced for the Exposition Internationale du Surréalisme (EROS) in Paris (1959-60) at the request of André Breton. In this piece, Oppenheim served an elaborate banquet directly on the body of a nude woman, who was laid out on a long table. The meal was presented without the use of silverware, compelling guests to engage with the food and the human body in an intimate and unconventional manner. This setup challenged traditional norms and expectations surrounding dining, the female body, and the roles of women in society.
Stone Woman (Steinfrau) (1938)
This piece was created during a period of creative struggle for Oppenheim, influenced by the turbulent political climate and her personal experiences. The artwork is an adaptation of a photograph by Man Ray, featuring a composition of piled stones that resemble a reclining female figure. This symbolic painting reflects Oppenheim’s fascination with the natural world and her ability to imbue everyday objects with deeper, often unsettling meanings.
Stone Woman explores themes of transformation and the intersection between the human body and nature. The use of stones, typically seen as lifeless and inert, to represent a living form, challenges viewers’ perceptions and evokes a sense of mystery and ambiguity.
Bird Leg Table (1939)
Bird Leg Table, also known as Traccia, is renowned for its imaginative design, which merges elements of nature with functional furniture. The table features a rectangular top, often gilded, with imprints resembling bird footprints. The most striking aspect of the design is its legs, which are crafted to resemble the slender, taloned feet of a bird. This whimsical and surreal combination of elements challenges traditional notions of furniture design and functionality.
Oppenheim created this piece in 1939, during a period when the Surrealist movement was at its peak. The table was initially presented at an exhibition on “imaginary” furniture in Paris, alongside works by other Surrealist artists like Max Ernst and Leonor Fini. Despite its creation in 1939, the table was not mass-produced until the 1970s by the Italian firm Simon International.
The Couple (Das Paar) (1956)
The Couple (Das Paar) is a surrealist sculpture created in 1956. It consists of two boots joined at the toe, creating a striking and somewhat unsettling image. This piece is often interpreted as a commentary on relationships and the concept of coupling. The joined boots suggest both an invitation to walk together and a restriction, symbolizing how being in a couple can be both supportive and limiting. The sculpture challenges viewers to reconsider the nature of relationships and the balance between independence and unity.
The Green Spectator (Der grüne Zuschauer) (1977)
The Green Spectator (Der grüne Zuschauer) was created in 1959 and revisited in 1977. This piece is a profound exploration of themes such as death, nature, and the human condition. The sculpture stands over five feet tall and is made of painted linden wood and sheet copper. It resembles an abstract human figure, reminiscent of a mummy, with a green stone-like appearance. Instead of a head, there is a gold plate with embedded spiral ornaments that resemble hypnotic eyes. This design element adds a surreal and almost mystical quality to the piece.
Oppenheim explained that The Green Spectator represents nature’s indifference to human life and death. The sculpture’s green color and its placement in a natural setting reinforce this idea, suggesting that nature observes life and death without emotion or bias.
Oppenheim Fountain (1983)
The Oppenheim Fountain, also known as the Meret Oppenheim Tower Fountain, is a fascinating piece of public art. Installed in 1983, this unique fountain stands prominently on the Waisenhausplatz in Bern, Switzerland. The fountain is an eight-meter-high column made of concrete and aluminum. One of its most distinctive features is the spiraling water channel that winds its way around the column, creating a dynamic visual effect as water flows down. At the top, a light installation adds an extra layer of visual interest, especially at night.
What truly sets the Oppenheim Fountain apart is its ability to transform with the seasons. In the summer, the column becomes covered with a lush layer of moss and wild grasses, giving it the appearance of a green, living tower. In the winter, the fountain takes on a completely different look, with ice forming around the column, making it resemble a cocoon. These transformations symbolize life and growth, themes that were important to Oppenheim. The changing appearance of the fountain throughout the year reflects the cycles of nature and the passage of time.
Oppenheim's body of work stands as a testament to her innovative spirit and fearless exploration of the surreal. Her ability to transform everyday objects into thought-provoking pieces challenges conventional perceptions and continues to inspire artists and admirers alike. Oppenheim's legacy, marked by iconic works like "Object (Le Déjeuner en Fourrure)" and "My Nurse (Ma Gouvernante)," underscores her profound impact on the Surrealist movement and her enduring influence on contemporary art. Through her imaginative creations and bold performances, Oppenheim not only redefined the boundaries of art but also provoked critical discussions on societal norms and the human experience. Her work remains a vibrant and essential part of art history, reminding us of the power of creativity to disrupt, inspire, and transform.