![]() ![]() Surreal Objects is the first publication to exclusively address the Surrealist object. Younger recruits to the Surrealist cause, such as Hans Bellmer, Isamu Noguchi and Meret Oppenheim developed the possibilities of the genre even further, and Oppenheim's 1936 "Fur Cup" must be today the supreme instance of the Surrealist object. Duchamp's Dada-era objects, Freud's theories of the fetish, the "uncanny" and sexual symbolism and the popularity in Europe of African votive objects supplied further stimulus, and soon Breton, Man Ray, Salvador Dal and even Picasso had populated this infant genre with a whole slew of disquieting (and sometimes fun) inventions-May Ray's 1920 "Cadeau" (a clothes iron with tacks attached) and Dal 's 1936 lobster telephone are two instantly recognizable examples. Lautr amont's vivid simile lent itself both to poetry and to visual art, and the Surrealist artists were quick to grasp that an entirely new kind of sculpture could be made from such potent combinations of commonplace objects. ![]() ![]() ![]() "Beautiful as the chance meeting of a sewing machine and an umbrella on a dissecting table" is the most famous formulation of the Surrealist effect, penned by the Comte de Lautr amont in the 1860s and adopted as a rallying cry by Andr Breton at the inception of the Surrealist movement. ![]()
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