Meret Oppenheim’s sculpture Breakfast in Fur, created and unveiled in 1936, was immediately considered as a surrealist object par excellence and very soon reached iconic status. Its fusion of strangeness and intimacy produces a vigorous sensual effect, as if it incarnated sensuality itself, with an indirect but evident erotic connotation. A passage in Stendhal’s novel The Red and the Black (1830), read in the spirit of Jean-Pierre Richard, is found to be very close to the fundamentally aesthetic value of Oppenheim’s famous work, not in being surrealistic of course, but because of its extreme sensuality and power of seduction, wrapped in a perfectly realistic framework.

Keywords: Sensation, seduction, surrealism, Stendhal