Resultado de búsqueda
Meret Oppenheim (Berlín; 6 de octubre de 1913 - Basilea; 15 de noviembre de 1985) fue una artista y fotógrafa suiza que se encuadró en el movimiento surrealista. [1] Biografía. Nació en el barrio berlinés de Charlottenburg, su padre alemán y su madre suiza.
Meret Oppenheim (6 de octubre de 1913 - 15 de noviembre de 1985) fue una artista y fotógrafa suiza que se encuadró en el movimiento surrealista. Nació en el barrio berlinés de Charlottenburg, su padre era alemán y su madre suiza; con 16 años comenzó a estudiar pintura y con 19 años se trasladó a París a continuar sus estudios en la ...
- German, Swiss
- Berlin, Germany
Meret Oppenheim - Historia Arte (HA!) Suíza, 1913–1985. Surrealismo. Meret Oppenheim fue una de las grandes figuras del surrealismo. Su sentido del humor, gran personalidad y el hecho de que trabajó con materiales de uso cotidiano hacen de ella, como dijo Salvador Dalí, «una artista importantísima».
“There is one thing I do not want you to ask me,” Meret Oppenheim told an interviewer in 1978. It was spring in New York, and the Swiss artist’s latest work was on display at an uptown gallery. Meanwhile, her most famous work—about which she flatly refused to answer questions—was installed 20 blocks south, in MoMA’s galleries on ...
Meret (or Méret) Elisabeth Oppenheim (6 October 1913 – 15 November 1985) was a German-born Swiss Surrealist artist and photographer. Early life. Meret Oppenheim [1] was born on 6 October 1913 in Berlin. She was named after Meretlein, a wild child who lives in the woods, from the novel Green Henry by Gottfried Keller.
- 15 November 1985 (aged 72), Basel, Switzerland
- Académie de la Grande Chaumière, Basel School of Arts and Crafts
Meret Oppenheim (born October 6, 1913, Berlin, Germany—died November 15, 1985, Basel, Switzerland) German-born Swiss artist whose fur-covered teacup, saucer, and spoon became an emblem of the Surrealist movement. The piece, created when Oppenheim was just 23 years old, became so famous that it overshadowed the rest of her career.
Although Oppenheim is normally aligned with Surrealism, her daring use of found objects is straight-up Dada. She is a key transitional figure, linking the two movements. At a time when the only acceptable role for a woman in the art world was mistress or muse, Oppenheim made it as an artist.
