Introduction to Meret Oppenheim’s Object
Meret Oppenheim’s Object, also known as Le Déjeuner en fourrure (“Breakfast in Fur”), is a standout masterpiece of the Surrealist movement. Created in Paris in 1936, Object features a tea cup, saucer, and spoon wrapped in the fur of a Chinese gazelle. This unexpected juxtaposition of common household items with fur challenges traditional views of utility, beauty, and desire. The work embodies the concept of the uncanny—a key aspect of surrealism—transforming an everyday ritual into something unfamiliar, tactile, and profoundly unsettling.
The Origins of Meret Oppenheim’s “Object”
The idea for Object started as a joke over lunch. In 1936, while at a Paris café with Dora Maar and Pablo Picasso, Oppenheim wore a fur-lined bracelet. Picasso remarked that anything could be covered with fur, to which Oppenheim responded, “Even this cup and saucer.” She humorously called out, “Waiter, a little more fur!” This sparked Oppenheim’s creative imagination. Soon after, she purchased a tea cup, saucer, and spoon, covered them in Chinese gazelle fur, and titled the ensemble Object. By doing so, she transformed items linked with decorum and femininity into a perplexing Surrealist sculpture.
Inspired by Picasso’s casual comment, Oppenheim created a piece that would become an iconic symbol of 20th-century art. After its debut in Paris, Object was purchased by the Museum of Modern Art (MoMA) in New York, helping her gain international recognition.
Exploring the Uncanny in “Object”
Object embodies the Surrealist fascination with the uncanny—a blend of the familiar and the strange. By adding fur to a tea cup, an item meant for intimate and practical use, Oppenheim transformed it into something unsettling. The fur evokes a visceral reaction—both enticing and repellent. It blurs the boundary between civilized refinement and primitive instinct, forcing viewers to question their expectations of mundane objects. The soft, sensual fur contrasts sharply with the tea set’s usual function, unsettling our sense of normalcy and inviting reflection on the irrational side of human experience.
Surrealist Themes and Feminist Symbolism in “Object”
Object also touches on themes of sexuality and femininity, central motifs in Oppenheim’s work. Traditionally, the tea set is a symbol of polite society and domestic rituals. However, Oppenheim adds a provocative layer of sensuality by covering it with fur. In doing so, she critiques traditional gender roles, merging domesticity with desire.
Covering an item associated with social rituals in fur—a material linked to primal instincts—is a potent commentary on the duality of human experience. It illustrates the tension between the cultivated and the subconscious, challenging how cultural norms suppress primal urges. For Oppenheim, one of the few women in the Surrealist movement, this piece also served as a feminist critique of the way women’s roles were often reduced to domesticity while simultaneously being objects of sensual appeal.
Reception and Legacy of Meret Oppenheim’s “Object”
Object is a perfect example of Surrealist poet André Breton’s philosophy that mundane objects presented in unexpected ways can challenge reason, prompting viewers to explore their subconscious. Upon its first exhibition in 1936, Object sparked intrigue and controversy. It debuted in Paris at André Breton’s inaugural Surrealist object exhibition and later appeared in MoMA’s Fantastic Art, Dada and Surrealism show in New York. The headline “The fur-lined-cup school of art” captured the mixed responses—bemusement, shock, offense, and fascination—that Object provoked.
Though many viewers initially struggled to understand how this could be considered art, MoMA purchased Object by 1946, cementing Oppenheim’s place in modern art history. The piece has inspired numerous artists and spurred discussions about the relationship between materials, meaning, art, and utility. Today, it remains one of the most recognizable works in MoMA’s collection and continues to symbolize the spirit of Surrealist innovation.
The Tactile Paradox
Oppenheim once wrote, “Art has to do with spirit, not with decoration.” Object embodies this idea. The fur covering evokes a surprising mix of associations—wild animals and nature versus manners and civilization. The furred tea cup is soft and rounded, enticing yet impractical. While it appears highly tactile, the thought of actually drinking from it brings discomfort—imagine the sensation of wet fur in your mouth. This paradox embodies the Surrealist challenge to everyday perceptions, transforming the familiar into something bizarre and evocative.
Meret Oppenheim’s Object challenges viewers to reimagine the mundane through a surreal lens. By turning a simple tea set into something unsettling and strange, she forces us to confront our reactions to everyday objects and rituals. The combination of elegance and discomfort in Object captures the Surrealist drive to challenge conventions and reveal the irrational layers of the human experience. It serves as a powerful reminder of how art can transform the familiar, pushing us into realms of the strange, the sensual, and the thought-provoking.
