The motif evolved further while Dalí was staying in England with Edward James, the renowned collector and supporter of the Surrealists. William Jeffett explains: "At that time his English was practically non-existent, which could account for the misunderstanding that arose upon hearing someone talk of a 'chest of drawers.' In interpreting this quite literally, Dalí in The Anthropomorphic Cabinet, as well as a number of drawings, was to show a reclining woman out of whose chest appeared numerous half-opened drawers... Further, the drawers suggest the obscure recesses of the human mind, in the sense of Freud’s conception of the unconscious" (William Jeffett in Dalí: The Centenary Retrospective (exhibition catalogue), Palazzo Grassi, Venice & Philadelphia Museum of Art, Philadelphia, 2004-05, p. 258).
The same theme of the Vénus de Milo with drawers appears in several drawings and a painting of 1936, Le Cabinet anthropomorphique. As Robert Descharnes explained: "Dalí viewed his own subject matter as an allegorical means of tracing the countless narcissistic fragrances that waft up from every one of our drawers (as he put it). And he declared that the sole difference between immortal Greece and the present day was Sigmund Freud, who had discovered that the human body, purely neo-platonic at the time of the Greeks, was now full of secret drawers which only psychoanalysis could pull open" (Robert Descharnes & Gilles Néret, op. cit., p. 276).
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