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The Sphinx on the Table: Sigmund Freud's Art Collection and the Development of Psychoanalysis
 
 
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The Sphinx on the Table: Sigmund Freud's Art Collection and the Development of Psychoanalysis [Hardcover]

Janine Burke (Author)
4.5 out of 5 stars  See all reviews (2 customer reviews)


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Book Description

November 14, 2006
Sigmund Freud's collection of Egyptian, Greek and Roman antiquities is one of the art world's best-kept secrets. Over a forty year period he amassed an extraordinary array of nearly three thousand statues, vases, reliefs, busts, rings and prints. 
For Freud, psychoanalysis and his art collection developed together in a symbiotic, nourishing relationship, each informing and enriching the other. Freud used myth to illustrate controversial theories like the Oedipus complex, situating ancient symbolism in a modern context. He explored the archaeology of the mind, unearthing his patients' dreams and memories while creating a personal museum of ancient treasure. Freud compared the process to analysis, where he, "cleared away material, layer by layer", to the technique of excavating a buried city. 
To create a portrait of Freud the art collector, Janine Burke builds a vibrant, richly detailed and intimate image of his life and times, tracing Freud's taste for beautiful things back to his earliest years. The Sphinx on the Table is set against the glittering, decadent, backdrop of fin-de-siecle Vienna where an artistic flowering took place in painting, theater, writing and architecture.

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Editorial Reviews

From Publishers Weekly

Burke opens a narrow window and provides a rich view of Freud the man in this sympathetic but not hagiographic account. An obsessive collector of antiquities, especially small Egyptian, Greek and Roman statues, Freud made his consulting room into a museum and took much of his enormous collection with him on holiday. Well aware that collecting reflects sublimated need, Freud never asked himself what that need was, though he used his antiquities to bind himself to colleagues and stimulate analysands. Freud's "old and grubby gods" provided objective correlatives for his theories. Yet some of them, such as his favorite little bronze of Athena, provided evidence of psychic forces—especially feminine ones—that he was neither able to integrate into his theories nor acknowledge as part of himself. Burke anchors discussion of the major areas of Freud's collection in a sketchy chronological biography, creating unnecessary confusion. However, chapters on the American poet H.D.'s relationship with Freud, and on Freud's flight from the Nazis and his last days in exile, are fascinating and poignant. This is an illuminating portrait of a man whose intellect was rooted in sensuality and whose neuroses were part of his genius. 24 pages of photos not seen by PW. (Oct.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist

When choosing the epigraph for his famous Interpretation of Dreams Freud considered a provocative line from Aristotle: "Enter--for here too are gods." That line, Burke asserts, would have made the perfect greeting for those entering the famous psychologist's study, a room crowded with a remarkable private collection of Egyptian, Roman, and Greek antiquities. In these antiquities, Burke sees potent embodiments of the mythologies that inspired--and challenged--Freud as he framed his revolutionary theories. When the pioneering analyst probed the psychosexual tensions in the family, he had at his elbow an ancient Greek image of Oedipus, the ill-fated Theban hero. And when Freud plumbed the primal depths of the unconscious, he was surrounded by ancient figures of satyrs. But Burke finds in Freud's artworks not only essential elements of Freud's triumphs but also telling symbols of his failures. Collector of numerous ancient goddesses and of various female sphinxes, Freud never solved the riddle of female desires, never recognized the possibilities for women's political engagement. Even when purchasing male gods and heroes, Freud was betraying a compulsive acquisitiveness symptomatic of deep personal insecurity. Lucid and persuasive, Burke has made a valuable contribution to the ongoing reassessment of Freud's genius. Bryce Christensen
Copyright © American Library Association. All rights reserved

Product Details

  • Hardcover: 384 pages
  • Publisher: Walker & Company; 1st US Edition edition (November 14, 2006)
  • Language: English
  • ISBN-10: 0802715036
  • ISBN-13: 978-0802715036
  • Product Dimensions: 9 x 6.3 x 1.8 inches
  • Shipping Weight: 1.5 pounds
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #1,709,633 in Books (See Top 100 in Books)

 

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1 of 1 people found the following review helpful:
5.0 out of 5 stars Freud/Oedipus & the Sphinx, November 16, 2009
This review is from: The Sphinx on the Table: Sigmund Freud's Art Collection and the Development of Psychoanalysis (Hardcover)
The Sphinx on the Table
by Janine Burke

Freud/Oedipus & the Sphinx

For those of us for whom Freud is a hero, this beautiful book by Janine Burke not only has 55 fine plates of him & family, his environs & many representations of his vast (2000 pieces) collection of antiquities, but also tells us of some disconcerting faults. This surprising catalog includes:

· "[H]is own therapy was shopping" as his wardrobe & collection showed. (2)
· He wore out his wife with 6 kids between 1887 & 1895. He believed abstinence was the preferred method of birth control, "not a particularly successful strategy" considering the results. (105-106)
· When traveling with his family, he went 1st class, while they went 2nd. (116)
· He didn't send his daughters to university & forbade his sons to become doctors. (279)
· Although he knew the "mother goddesses once reigned supreme" (53), "women's power was erased" in his theory (7), & this "mother's undisputed darling" "used to suffer indigestion before his regular Sunday morning visits to her." (20, 21)
· This father of the "castration complex" had about 17 talismanic Phalluses (PL 15) but no reported vulvas except for that of his Baubo (215) not shown in this book or on the Freud Museum website.

But all of us, like our statues, start with feet of clay & it's in the fires of life or kiln or foundry that some become the heroes, terra cottas or bronzes we now idolize. And despite all the faults, this was the man who, in his search for the truth (we are happy to learn that he got his hand back from La Bocca Della Verità! 179) was the foremost pioneer in the discovery & exploration of the unconcious, showed us that dreams had real meaning, that slips of all kinds are the result of various repressions, & that ultimately the notion of god could be traced to infantile helplessness & dependence on the father (The Future of an Illusion. Only through patriarchal prejudice could he have missed the mother in all this.) His notorious & disputed ideas on the primacy of sex in mental & social disturbance at the least brought the subject into the open in a Victorian world & still rattles some of us. Yet, in this sexualized context, we are surprised that his terra cotta winged Eros (PL 7) is unaccompanied by his partner Psyché in this collection of the founder of Psychoanalysis.

Freud rejected religion but "could not stop thinking about it." (128) "Indeed, his collection fetishises religion through its obsessive accumulation of sacred objects." (129) "He happily surrounded himself with old and grubby gods" (139) & goddesses. For example, the noble bronze Head of Osiris (PL 21), which reminds us of his dismemberment by Seth. As the author wittily puts it, "the very act of cutting Osiris to pieces indicates [Seth's] divisive nature." (23)

And in the context of Freud's desk the beautiful bronze of Isis Suckling the Infant Horus (PL 8) is an artistic & perhaps unconcious offset to his "favorite," the bronze Athena (PL 11), "only she has lost her spear" (92), a goddess who was "all for the father," & apparently never begrudged Zeus for swallowing her intended mother Metis (Wisdom). Athena's bias corresponded with Freud's mistaken deemphasis of the mother in his theories & perhaps she represented his ideal of a dutiful daughter, such as his Anna, who became his Antigone of later years. (279) As for no Venus de Milo in his collection, "she was not his kind of girl." But he lacked," the author says, "the confidendce to say so." (65)

Freud had various images of the Sphinx (203, PL 6), a medallion of Oedipus and the Sphinx (PL 46) & had translated parts of Oedipus Rex in his student days (206), but "erased the Sphinx, the tricky, troublesome feminine" (207) from his famous Oedipus Complex.

This "godless Jew" (5) was enthralled by magical & sacred objects. By the Parthenon for the first time, & viewing the blue sea, in his famous "disturbance of memory," Romaine Rolland thought that Freud had experienced a brief transcendent oneness with eternity, an "oceanic feeling." (199) Perhaps Freud sought, bought & found the transcendence we all seek in the acquisition, enjoyment & contemplation of those gods & goddesses he loved so well & kept so near.

There is so much more in this well-researched, extensively annotated & beautifully written book, & I highly recommend it. Two touching photos show an old, sick & depleted Freud & his populated desk near the end in 1938 London (PL 53, 54), the rows of gods no longer apotropaic. An early user & proponent of cocaine (80), Freud, hopelessly ill & failing, called in the promise of his doctor & was relieved of his torment with 2 separate injections of 2 grams each of morphine. The 1st eased him into the welcome arms of Morpheus, the 2nd, a few hours later, into those of History.

*** (11.16.09)
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4 of 7 people found the following review helpful:
4.0 out of 5 stars Parallel paths-not directly related, August 8, 2007
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This review is from: The Sphinx on the Table: Sigmund Freud's Art Collection and the Development of Psychoanalysis (Hardcover)
A very chatty read going from Freud's birth in Moravia to his escape to London from Nazi-ridden Vienna. I don't think the author makes a strong case for Freud's art collection leading to the development of psychoanalysis. I think the art collection developed as Freud began to publish and treat patients with psychoanalysis. His classical education at the Gymnasium made him familiar with mythology, and I think this led to his collection of antiquities.
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