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''Object (Le Déjeuner en fourrure)'', lit. Object ("The Luncheon in Fur"), known in English as ''Fur Breakfast'' or ''Breakfast in Fur'',is a 1936 sculpture by the surrealist Méret Oppenheim, consisting of a fur-covered teacup, saucer and spoon. The work, which originated in a conversation in a Paris cafe, is the most frequently-cited example of sculpture in the surrealist movement. 〔 ()〕〔 ()〕〔(【引用サイトリンク】url=http://www.moma.org/visit/calendar/exhibitions/960 )〕 It is also noteworthy as a work with challenging themes of femininity. ==History== The work's concept originated in a conversation among Oppenheim, Pablo Picasso, and his lover and fellow artist Dora Maar at a Parisian café〔(【引用サイトリンク】title= Meret Oppenheim. ''Object''. 1936 )〕 where the café's social role was discussed,〔 ()〕 and at which Oppenheim was wearing a fur-covered brass tube bracelet, the pattern of which she sold to the fashion designer Elsa Schiaparelli.〔〔 Picasso had suggested that anything could be covered in fur, and Oppenheim remarked that this would apply to "even this cup and saucer".〔 Oppenheim was nearly 23 years old at the time. In a slightly more explicit version of the conversation, Picasso complements the young artist on her fur bracelet, and flirtatiously observes that there are many things he enjoys that were improved when covered in fur. Oppenheim responded, tongue in cheek, by asking, "Even this cup and saucer?" Oppenheim created and exhibited the work as part of André Breton's first exhibition of surrealist sculpture (''Exposition surréaliste d'objets''), held at the Galerie Charles Ratton. She originally titled it prosaically as "Cup, saucer and spoon covered with fur", but the work was renamed by Breton in reference to Manet's painting ''Le Déjeuner sur l'herbe''.〔 The work accords well with Breton's theories in his essay "The Crisis of the Object".〔 In true found object mode, the teacup, saucer and spoon are ordinary objects purchased from Monoprix, a Paris department store. The fur covering is that of a Chinese gazelle.〔 Later in 1936, the work appeared at the London International Surrealist Exhibition, where it was noticed by Alfred H. Barr, Jr..〔 Barr then displayed the work as part of the "Fantastic Art, Dada, Surrealism" exhibition of winter 1936/1937 at the Museum of Modern Art in New York City, whose visitors selected it as "the quintessential Surrealist object."〔 Barr afterwards purchased it for the museum, where it remains in the permanent collection.〔 The enormous success of this early work would create later problems for Oppenheim as an artist,〔 and soon after its creation she drifted away from the Surrealists.〔 Decades later, in 1972, she artistically commented on its dominance of her career by producing a number of "souvenirs" of ''Le Déjeuner en fourrure''.〔() and ()〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Le Déjeuner en fourrure」の詳細全文を読む スポンサード リンク
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