Dissection & Surrealism

Sam Thompson

20th Century Art

Anthony Grudin

April 29, 2015

Bright lit blue skies, youre full of lies

-Ariel Pinks Haunted Graffiti, Bright Lit Blue Skies. 1 Before Today, 4AD Records
2010.
My essay will examine Surrealism in Andr Bretons writing and analyze it in
conjunction with Georges Batailles criticism of Surrealism in the painting of Salvador
Dals The Lugubrious Game. Bataille develops his theory called base materialism to
eliminate the hierarchical values of high and low from all of human thought, and
Surrealism is not his cup of fur2 (Bataille, 15). Definitionally, Bataille has a problem with
the prefix sur-, which denotes an impossible extra dimension of reality (Bataille, 32). I
then analyze Dals painting and provide some background detail on the piece and how it
created a rift between Dal and Breton, Surrealisms sovereign (Rothman, 124). Base
materialism is explored as the essay begins to examine three paintings of Francis Bacon
alongside Gilles Deleuzes analysis of how Man becomes animal in Bacons paintings,
which I argue is a painterly style that answers to the point of Batailles faults with
Surrealism and idealism, leveling man down to base level with the rest of the animal
kingdom (Bataille, 45-50, Deleuze, 19-25).
Andr Breton begins the first Surrealist manifesto with a profound admiration for
freedom; the only word that still interests him, that which is capable of sustaining ageold human fanaticism, leading him to the conclusion that the medium of thought is the
freest of all, though a heavy burden rests on the thinker not to misuse ideas (Harrison,

1 Cover of The Rockin Ramrods 1966 song of the same name.

2 A reference to Meret Oppenheims object, a surrealist object Breton
included in Surrealist showings. See appendix, figure H. There will be
some other, secondary images used for minor detail or purposes of
referentiality that I did not include in the annotated bibliography, but
they are cited in the appendix.

433). Breton is infatuated with the great depths that have yet to be found within
imagination, praising recent discoveries by Sigmund Freuds psychoanalysis of the
unconscious mind (ibid, 434). Surrealism, as set out by Breton, aims to submit the depths
of the unconscious mind, with its ability to dream and bring suppressed desire near the
forefront of thought, to reasons control as a method to produce images and texts without
the formal constraints imposed the academy and language, espousing that hallucinations,
illusions, etc. are not a source of trifling pleasure (ibid). There are two definitions given
for Surrealism, and this essay will purposely neglect Bretons first definition of
Surrealism, the noun, as pure unconscious technique (ibid, 438); focusing instead on the
second definition, Surrealism, the philosophy, given as the belief in the superior reality
of certain forms of previously neglected associations, in the omnipotence of dream, the
disinterested play of thought (ibid, 438). Using the prefix sur-, which denotes what is
over, in addition, and beyond, the Surrealists linguistically construct their own
Surreality that reaches farther than reality with their dream-like infinity of overpowering
wonder capable of unlocking the hidden, repressed, truths of the self that lie in the
unconscious. Bretons former ally in Surrealism, Georges Bataille, challenges the
legitimacy of the Surrealists philosophy by way of their prefix selection by declaring
Surrealism as yet another form of idealism, due to the surplus reality signified by sur-.
Georges Bataille, an original member of the Surrealist movement, though he
quickly had a falling out with Breton, starting his own short-lived publication Documents
over the course of 1929-1930, publishing 15 issues in which he developed important
ideas, also criticizing the developments of Surrealism along the way (Bataille, Visions of
Excess, xi). Surrealisms register of high and low values, the dreamy and sublime

belonging to the (high) mental domain contra excrement and sexuality that are produced
by the base (low) body in Surrealisms symbolization of dream-like wonder, is
problematized by Bataille, arguing that their predominance of the ethereal invests them
with an elevated character by associating itself with immaterial fantasies (ibid, 39). To
solve the problem of idealism that has plagued philosophy and Surrealism, Bataille
formulates his theory of base materialism, which I will return to at length in a later
paragraph, to eliminate the values given to material, physical things with the imagination
and language, creating idealizations with imaginative values that do not (materially) exist
in reality. Rather, the imagination externally creates a hierarchical value of things that are
not precisely organized as imagined (ibid, 15, ).
Salvador Dals The Lugubrious Game3, part oil painting and part collage on
cardboard, draws on Bretons definition of Surrealism by aestheticizing dream-like
imagery and juxtaposing the aforementioned high, dream-like imagery with symbols of
sexuality and self-defecation. Vast pictorial depth along the skys horizon along situated
within a sparse desert setting represents the limitless untapped potential of the human
imagination On the middle of the right side, a face emerges from the sky with a
grasshopper on its nose and the head of a bird on the faces cheek, and this bird head is
encompassed by another, larger head belonging to a rabbit, sharing the same eye as the
bird, along with a shared pictorial space where human, bird, and rabbit, all collide into
one being. Above the emergent head, there is a circular cluster of hats, an erect middle
finger, faces belonging to other humans and a mirrored duplication of the bird faces
image mentioned in the previous sentence. The circles female human face is above two
isolated breasts, but they are lacking a body of connection. The impossibility of such a
3 See appendix, Figure D

collection, the emergent human face and disembodied human features, can only be found
in dreams, but there is a caveat to this impossibility due to the experiential fact that
reality does not conform to the pictorial styling of The Lugubrious Game, so to truly
experience the Surrealism proper to Dals work you must be aware of how reality
already looks beforehand, which partly explains Batailles condemnation of Surrealism
for depending on this contradiction of reality (Bataille, 24-30).
Low values of Surrealism can be seen in the lower right corner as evidenced by
the figure who, in the midst of the overwhelming investment created by his own libido as
he gazes at the red buttocks that swirl and melt outwardly towards the sky and emergent
face, has defecated himself, his white underpants soaked through with brown that runs
down the back of his leg. There is a weeping figure huddled over the defecating mans
shoulders, but he is so caught up in his libidinal investment (the unyielding gaze towards
the glowing red ass) that he does not even notice or empathize with his fellow being and
this perhaps could be interpreted as a negative point against sexuality, that it is a wanton
distraction from more meaningful and sentimental activity, or perhaps it could conversely
illustrate the awesome overriding power of the sexual drive. Dals choice of cardboard
instead of canvas perhaps speaks to the lowly status of cardboard in relation to high art,
plus his additional technique of collage, which also had a dubious place in the academy
as well. When Breton and other Surrealists went to Spain in 1929, visiting Dal for the
showing of The Lugubrious Game, they were befouled by this obscene scatological
element in the painting. In response, Dal privately writes in his autobiography that he
believed the involuntary aspect of self-defecation as part of the Surrealist emphasis on
unconscious activity, or what is otherwise outside of conscious control, would have

sufficed to enlighten Breton. Publically, Dal explained to Breton that it was merely a
generic simulacrum, but again in his autobiography Dal privately adds to the story that,
had Breton not been satisfied with this generic simulacrum, the simulacrum of excrement
itself would have been his supreme follow-up answer (Rothman, 24). Gala, who was
first the wife of Dals fellow Surrealist poet Paul louard, would become Dals wife
later that year, but her first reaction to the piece came in the form of a question, asking if
he was a coprophagic, one who subsist on their own shit (Rothman, 128). Responding to
Gala, Dal answered no, saying he loathed aberration, but still considered scatology as a
terrorizing element just like his irrational fear of grasshoppers, of which we can see one
represented in the Game (Hollier, 102, Rothman, 128). Pigeonholing Gala to such a
question would be doing her a great disservice, because I think her actual criticism, that
Dal was running a risk of weakening his status as an artist along with the whole
Surrealist movement by being reduced to a mere psychopathological document with
the contrived scatological component that dripping with such a fragile, excessive
sentiment locked away within the fantasy-space of desire and dreams, only to be
awakened by the viewers encounter of The Real, dissolving all symbolic values (Hollier,
101-102, Rothman, 128). Reducing Dal to just a psychoanalytical diagram4 was exactly,
a part of, what Bataille sets forth in his article, The Lugubrious Game, which Dal
forbade the reproduction of his works image, though he allowed a much more gruesome
work of his in the fourth issue of Documents, Blood is Sweeter Than Honey5, which
depicts the body with its head, face, hands, and feet all cut off, lying on the desert floor6
(Bataille, 29).
4 See appendix, figure E.
5 See appendix, figure F.
6

Bataille opens his critique of Dals Lugubrious Game in his article of the same
name by covertly bludgeoning a point made by Breton in the second Surrealist manifesto,
which was released earlier that year. Breton says the simplest Surrealist act consists of
dashing down the street, pistol in hand, firing blindly as fast as you can pull the trigger
into the crowd putting an end to the petty system of debasement and cretinization
(ibid, 39). Responding with pen in hand, Bataille attacks Surrealism, noting how
intellectual despair results in neither weakness nor dreams, but violence (ibid, 24).
Automatism is rejected from the outset, but as Bataille furthers the article, his biggest
problem with Surrealism is the hierarchy creates by its system of symbols and meanings
(ibid). How images appear and are created plays a notable part on how we see the world,
as Bataille considers what the role of painting would be in the absence of this
aforementioned role (ibid). Distracting our self from its pent-up aggression as do bars and
American cinema would be arts only purpose, then, for Bataille (ibid). The Surrealist
worldview slowly became a mental straight jacket for Bataille as little by little the
contradictory signs of revolt and servitude are revealed in all things that is why they
are obstinately overturned (ibid, 27). Ideas have the same limiting power of control over
humans that harnesses have over horse in one of Batailles analogies, turning the animal
into a docile body to be externally controlled by a leader,7 and this is the apex of
7 a further pedagogical study of Batailles full quote to show its
doubtless influence on Michel Foucault as evidenced by the section of
Discipline and Punishment entitled Docile Bodies, which explores the
effect of disciplinary power over the body, submitting the body to its
own tactical (military) controls, but only after making the body docile,
would prove exceptionally interesting, but I cannot transgress any
further with this essay. Furthermore, the jump from Foucault to Judith
Butlers exposition of this concept in her book Gender Trouble to
demonstrate the docile bodys use in stylized repetitions to form
gender identities would also make for interesting study:

Batailles criticism of The Lugubrious Game, concluding that Dal and Bretons idiotic
idealism leaves us under the spell of a few comical prison bosses (ibid, 28). Batailles
thought of a prison riot within Surrealism best describes his Surrealist moniker as the
enemy within, a provocateur with his eyes on the elimination of Man, the animal of
intellectual reason, by eliminating idealism from art and philosophy (ibid, 49).
Base materialism seeks to eliminate the ideals of human thought by positing the
existence of base matter, which resists the human faculties of symbolization and
imagination necessary for producing ideals (Bataille, 15-16). Lowering matter to ground
level, the base, hierarchical classifications cannot be made, because value-judgments
cannot be made by the mind (ibid, 49). Bataille argues that base materialism does not
imply an ontology, a set of entities or things that exist, because he thinks that lays the
path to idealism, but base matter is something he creates to move his discussion along
(ibid, 49). I do not think that base matters lack of bearing on reality poses a conceptual
problem for Bataille, because it is the exact absence of value it creates that enables the
theory to latch itself onto any system of values and destroy them, though it does not offer
much further direction after the hosts death. However, the theory provides extremely
useful for theorizing human existence without hierarchies or social classifications
(Bataille, 49-50).
the idea has over man the same degrading power that a harness has
over a horse; I can snort and gasp: I go, no less, right and left, my head
bridled and pulled by the idea that brutalizes all men and causes them
to be docile- the idea in the form of, among other things, a piece of
paper adorned with the arms of the State. Taking into account trickery,
human life always conforms to the image of a soldier obeying
commands in his drill, but sudden cataclysms, great popular
manifestations of madness, riots, enormous revolutionary slaughtersall these now show the extent of the inevitable backlash. (VE, 24, 27).

Deleuzes fourth chapter of Francis Bacon: The Logic of Sensation, Body, Meat,
and Spirit: Becoming-Animal, provides further detail on Francis Bacons painterly
representation of the pairings head and face alongside flesh and bone to uncover Bacons
treatment of the human figure in a way that brings the figure of Man down to the level of
animal (Deleuze, 19). As a portraitist, Deleuze writes, Bacon paints heads, not faces;
there is a great difference between the two (ibid). Face is a structured organization that
conceals the head, which depends on the body as the point of its culmination (ibid). Head
is a spirit in bodily form, an animal spirit: the animal-spirit of man (ibid). Bacons
project as a painter is thus, to dismantle the face, rediscover the head, making it emerge
from beneath the face, as opposed to assigning the face a profound symbolic value as
seen by Dals separate treatment, and privilege, of the face in his piece where we can see
a great deal of the canvas occupied by that emergent human face (ibid).
Deformations of the body also designate animal traits of the head, and in Bacons
paintings the animal-spirit rises from the wiped off parts of the human head,
individualizing the head without a face, when Bacon scrubs the face away with his
painterly technique (ibid, 19). In Two Studies of George Dyer with a Dog8, the faceless
portrait of Dyer enclosed within a circle. Inside this sphere, the shadow of Dyers body,
the master, is revealed to be the dog; seeing what lies beneath the human master is the
animal he is sheltering and controlling beneath the idea that functions like a harness for
Bataille (Bataille, 24, 27). It is interesting to note that Bacon chose to paint the shadow
off of the faceless body, seated in a chair near the ground with its animal shadow
sprawling onto the floor, signifying the overwhelmingly animalistic aspect rendered by a
body without the individualizing personality only a face can give in addition to the
8 See appendix, figure C.

preconceived lowliness of animals in general. Though Bacon separates these bodily

elements like Dal does, by making an apriori unrealistic or surrealistic image, as
opposed to Bacons dissection of the human form done with the intent on leveling Man to
his animal shadow cast on the floor. Outside of the circle, situated near its cusp, is the
other portrait of Dyer: the face itself; the most human and individualizing feature, which
directly faces the viewer, opposite the bodily portrait of Dyer and his canine shadow.
Again, the use of higher and lower levels in space illustrate the privilege of Man over
animals, but unlike Batailles fault with Surrealisms use high and low to elevate the
status of Man, Bacon breaks out of these binary by representing a formless body, as
opposed to Dals use of body parts, which only contain an obscene symbolic meaning
that can only be accessed by being subjected to language (middle finger, breasts,
buttocks). Bacons painting shows an objective zone of indiscernibility and sometimes
undecidability between man and animal, and in Two Portraits this zone of obfuscation is
created by the situating of the human face on a table outside the circle, though its hair and
part above the mouth recede like a shadow into the ring, though we can clearly see its
placement on the platform on the exterior. Deleuze writes that Bacon achieves this
difference, not with the juxtaposition of forms, but with the common fact that Man and
animal have differentiated identities within the shared zone that obfuscates their
individuality by occupying the same demarcated area, though Deleuze retracts on the
earlier point by calling the compound figure in the ring isolated as an opaque linking of
man and animal which is not the juxtaposition of form, which is why I have a hard time
interpreting what is conclusively meant by this claim (Deleuze, 20).

Conversely, in Study for a Bullfight no. 19 Bacon creates this zone within the
bullfighting ring. Deleuze stipulates that Bacon does not use the juxtaposition of forms
to illustrate the difference, if any, between Man and animal, but this piece, I will argue,
does exactly that when you look inside the ring. We can see a bullfighter atop his
potential trophy, but our view of him is largely covered by the body of the bull, causing
the human and animals forms to coalesce together into one compound being, though the
human and bull are differentiated from one another so that we can tell which is which.
but not without exercising the limits of his strength as he fights against the bull for his
life and to entertain the audience situated, like George Dyers face, on the circumference
of the ring. This time, however, the audience is directly confronting the spectacle before
them, whereas Dyers face ruptures the painterly illusion by reciprocating the viewers
stare. Man and animal are compounded into one figure, though the placement of man on
top of the bull signifies the domination when animals are subjected to humanity, forced
into the bullfighting ring, while another point can be made to show Man subjecting
himself to the wilderness of the animal kingdom by unleashing the savage animalistic
power within him to defeat his adversary, another potentially lethal animal.
My last painting of Bacons, Three Figures and a Portrait10, is a prime example of
his curiosity with meat. In an interview with David Sylvester, Bacon says we are meat,
potential carcasses if I go into a butcher shop I always think its surprising that I wasnt
in there instead of an animal (Sylvester, 46). Bacon calls the individualization of human
identity into question as he participates in the consumption of other animals (ibid, 46). Xray photography also influenced the way he saw potential uses in painting for the human
9 See appendix, figure A.
10 See appendix, figure F.

body, showing layers of flesh that serve as a covering for bones revealed in X-ray images
(ibid). Photography alone did not inspire this change in Bacon, admiring Edward Degas
After the Bath, Woman Drying Herself11 for nearly popping the top of the twisted bathers
spine out her skin, giving her bodily form a twist that makes the rest of her body seem
more vulnerable than if her backside was represented in a more vertical style (Sylvester,
46-47). By causing flesh to confront bone within the same space, not composed
structurally together like a living human, each exists on its own terms, confronting one
another other within their shared space (Deleuze, 21). Form of the human body, now
something beyond the basic architectural structure given to it by the skeletal system, is
revealed in Three Figures. A figure on the left with a protruding spinal column illustrates
the confrontational aspect of meat where we see the dislocated backbone separated from,
but still tangential to, the fleshy parts of the materials it is popping out of Flesh literally
descends from the shaft due to the inversion of the body; the inversion of the head reveals
the flesh. It is worth nothing the Mobius strip containing two smaller circles; the leftmost
one contains the spineless figures head and sideways facial profile, excluding the
separation of bone from flesh: the creation of meat itself. Doubled over in contortions,
this figures separation of structure (bone) from the flesh makes the movement of the
body in the painting seem more lithe and acrobatic, with the carcass acting as a trapeze
for the acrobat, the flesh, to latch onto and move about without limitation (ibid, 20).
Separating the head from the body with the smaller circle is Bacons way of portraying a
decapitation of Man, separating the most human (the face) from its opposite, the body.
Opposite the meats descent, arising from the disjunction is the spinal column separated
from its connecting structures, signifying the higher or upwards motion that characterizes
11 See appendix, figure G.

Man as a product of the Enlightenment, the rational animal exiting the darkness of the
caves, guided by the light of reason (ibid).
Situated outside of the Mobius strip is a figure whose only discernable feature is
an open mouth full of teeth, which are actually just little bones (ibid, 21). Open mouths
are holes where Georges Batailles short essay, mouth, explores the loss of prominence
that the mouth once had among primitive men (Bataille, VE 59). Despite this, he
observes how the overwhelmed individual throws their head back, stretching the neck in
such a way that the mouth becomes, as much as possible, an extension of the spinal
column, which is the position it normally occupies in the constitution of animals (ibid).
Looking at Three Figures we see the open mouth removed outside of the Mobius strip,
beyond the confines of the inverted human body. Bataille writes how overwhelming
sensations return humans to their animal state, highlighting the superior or anterior
extremity of the body, the orifice of profound physical impulses that man can liberate in
two different ways (ibid); the brain or mouth. As soon as one of these methods becomes
violent, the bestial way of liberation becomes obligatory, leading Bataille to finish the
essay with the narrow constipation of a strictly human attitude, the magisterial look of
the face with a closed mouth, as beautiful as a safe (ibid). Beauty in the form of a safe
derives from the age of primitive men who would flash their teeth as a signal of
cannibalistic predation to their fellow man (ibid). Bacons method of isolating features
of the human form in relation to one another within a shared space, in this case I am
referring to the entire canvas, where we can see the mouth removed the furthest of any of
the other human forms, thereby signifying the distance the construct of Man has placed
between himself and the shameful animal kingdom. By leveling the image of man as an

animal in relation to the rest of nature, which partly explains why Bacon imagines seeing
himself on display in the window of a butcher shop, lowering Mans existence to an equal
plane with every other living being, and his identity becomes like that of flesh and bone
being pulled apart to become the anonymous piece of meat. Bacons representation of
the human figure shows that Man, the superior animal, is a fantastical construction that
can be dissected to reveal the fundamental arrangements of himself, and this image can
easily disappear as it once appeared like a face drawn in sand at the edge of the sea12,
eliminating hierarchies in nature and divisions such as class, gender, race, and sexuality
that occur between humans.

Annotated Bibliography

12 See the final two paragraphs of Michel Foucaults The Order of

Things, 1966.

1. Bacon, Francis, Study of a Bullfight No. 1 1969. Painting. Museo Palazzo de Mayo,
Chieti, Italy.
One of Bacons paintings that I analyze to demonstrate the relations of humanity
to the animal kingdom, in addition to mans place within it and the place occupied by
animals in humanity.
2. Bacon, Francis Three Figures and a Portrait 1972. Painting, Tate Gallery, London,
England.
Bacons fascination with meat is exemplified in this work, which Deleuze conceptualizes
as the pictorial tension created between bone and flesh where the former is no longer
used to support the latter; each exists for the other, but on its own terms when the pair is
thought of as meat; the spineless figure on the left side is a pure form of this concept.
3. Bacon, Francis Two Studies of George Dyer with Dog 1968. Painting, private
collection.
This painting reveals a dichotomy between man and animal that is revealed by the
shadow of George Dyer that is the dog; the masters shadow is the animal himself that is
subdued as part of the represented human condition.
4. Bataille, Georges Visions of Excess: Selected Writings 1927-1939 edited by Lovitt,
Carl R. and Leslie, Donald M. Jr. University of Minnesota Press, Minneapolis 1985.
Batailles writings from when he was working on his own publication, Documents, to
counter Bretons growing influence, and other writings about Surrealism are covered in
this selection. Batailles counter to Surrealism is covered in Base Materialism &
Gnosticism, whose ultimate goal is to eliminate idealism within all of philosophy.

Commentary on Salvador Dalis Lugubrious Game in his essay of the same title along
with some others: Materialism and The Old Mole and the Prefix Sur- in Surrealism
and (Nietzsches) Surhomme provide criticism of Surrealisms linguistic construction to
denote an over and beyond of reality that is untenable and clich. Lastly, mouth is
an interesting analysis of the changing meaning of the open and closed mouth over time,
which is more animalistic in nature than human.
5. Dal, Salvador The Lugubrious Game 1929. Painting, private collection.
This is one of my examples of Surrealist painting that exemplifies the academic
style that Greenberg found distastefully ironic about their style. It is analyzed at length
alongside Batailles critique in his article of the same name.
6. Deleuze, Gilles Francis Bacon: The Logic of Sensation. University of Minnesota
Press, Minneapolis 1981.
Deleuzes fourth chapter, Body, Meat, and Spirit: Becoming-Animal, explores
the works of Bacon as they portray human forms alongside their underlying bone
structures, and the painterly significance of the mouth in Bacons oeuvre as a hole where
the animal escapes out of man, similarly to Georges Batailles trajectory in mouth,
though Deleuze does not make this connection himself.
7. Harrison, Charles & Wood, Paul J. Art in Theory 1900-1990: An Anthology of
Changing Ideas pp. 432-450. Wiley-Blackwell, Hoboken, New Jersey 1993.
This collection includes selections from Andr Bretons two Surrealist Manifestos
and an article Surrealism and Painting, which I use to formulate the positive identity of
Surrealism as defined by Breton in these works as he explores the sub-conscious,
automatism, imagination, and the reality of dreams.

8. Hollier, Dennis Against Architecture: The Writings of Georges Bataille. The MIT
Press, Cambridge, Massachusetts 1992.
Dennis Holliers chapter Scatology does a profound analysis of the defecating
figure in Dals Lugubrious Game along with the tension that image in the painting
created in the relationship between Dal, Andr Breton, and Gala (who concluded Dal
was coprophagic and would become Dals wife later in 1929, the year of the paintings
release).
9. Rothman, Roger Tiny Surrealism: Salvador Dal and the Aesthetics of the Small
University of Nebraska Press, Lincoln 2012.
Roger Rothman uncovers further detail concerning the Surrealist reaction to The
Lugubrious Game, particularly the images of scat, and a passage from Dals
autobiography where, had he been asked for further detail about it from Breton, he
clarifies that the figure of defecation in the painting is a simulacrum of excrement itself.
10. Sylvester, David Interviews with Francis Bacon. Random House, New York 1975.
David Sylvesters interviews with Francis Bacon offer a glimpse into the artists
curiosity with meat, carcasses, butcher shops, and how X-Ray photography changed his
view of the human body that entered his painterly style.

Appendix

Figure A. Bacon, Francis Study for a Bullfight No. 1, 1969. Oil on canvas, 198 x 147.5
cm. Museo Palazzo de Mayo, Chieti, Italy. Pictured is a print from 1971.

Figure B. Bacon, Francis Three Figures and a Portrait 1975. Oil and pastel on canvas,
198 x 147.5 cm. The Tate Gallery, London.

Figure C. Bacon, Francis Two Studies of George Dyer with a Dog, 1968. Oil and pastel
on canvas, 198 x 147.5 cm. Private Collection.

Figure D. Dal, Salvador The Lugubrious Game, 1929. Oil and collage on cardboard,
44.4 cm x 30.3 cm. Private Collection.

Figure E. Georges Batailles psychoanalytical diagram of The Lugubrious Game (VE, 26)

Figure F. Dal, Salvador Study for Honey is Sweeter Than Blood 1926. 37 x 46 cm. Gala
Salvador Dal foundation.

Figure G. Degas, Edward After the Bath, Woman Drying Herself, 1890-1895. Pastel
drawing. 103.5 x 98.5 cm. National Gallery, London.

Figure H. Oppenheim, Meret Object 1936. Fur-covered cup, saucer, and spoon, Cup
4 3/8" (10.9 cm) in diameter; saucer 9 3/8" (23.7 cm) in diameter; spoon 8" (20.2
cm) long, overall height 2 7/8" (7.3 cm). MOMA, New York.