Freud Museum London
Listed house in Hampstead where Sigmund Freud and his family lived after fleeing the Nazis in 1938. The Museum was founded in 1986. It has featured in numerous films and TV broadcasts and hosts regular exhibitions and events. It is available for hire for filming and evening functions.
Senior Citizens: £6
Concs: £4.00 (with valid student ID card, children aged 12-16, unemployed persons, disabled persons)
Under 12s: Free
- Museums Association
Our library, study and research facilities are open by appointment only.
Sigmund Freud's large collection of Egyptian, Greek, Roman and Oriental antiquities and his library. His study with the psychoanalytic couch preserve his working environment. A reference library, archive and picture library document the history of psychoanalysis.
Archaeology, Archives, Costume and Textiles, Decorative and Applied Art, Fine Art, Personalities, Social History
Key artists and exhibits
- Freud's couch; Dali portrait of Freud; Brouillet print of Charcot; Abu Simbel print; photographs of Yvette Guilbert, Princess Marie Bonaparte, Lou Andreas-Salome, Charcot, Freud family.
Psychoanalysis After Freud
- 11 January — 29 March 2018 *on now
Psychoanalysis was initiated by Freud, then transformed by a series of powerful creative figures who both extended and deepened its range, opening new intellectual horizons as they applied its methods to new problems and new fields. We will focus on four leading innovators, carefully examining their criticisms of Freud and the manner in which they modified his theories and therapeutic practice. In this way, the course will give an overview of the development of psychoanalysis across its first century and into the beginning of its second. While intended to be accessible to beginners, it will also stimulate those who already have some knowledge of the field.
(The course is self-contained – as is ‘Introducing Freud at the Freud Museum’ which precedes it in the autumn term. The two courses can be taken in either order, or as ‘stand alone’ modules, but complete beginners wanting a thorough introduction to psychoanalysis should take ‘Introducing Freud’ first, then follow on with the present course.)
Week 1: Jung (1): Introduction to the course: The nature and status of psychoanalysis. The conflict between Freud and Jung over the foundations of psychoanalysis. Freud’s ‘Totem and Taboo’ versus Jung’s ‘Symbols of Transformation’.
Week 2: Jung (2): Freud’s relation to Schopenhauer and Jung’s relation to Nietzsche, and how this leads to Jung’s theory of ‘individuation’ and the self, versus Freud’s conception of the ego and the ‘personal’ unconscious. Jung’s ‘Personality Types’ and the requirement of the ‘training analysis’ for all analysts.
Week 3: Jung (3): Jung’s view of development across the life-cycle: his interpretation of Dante’s ‘Divine Comedy’. The function of religion, and of art, according to Jung and Freud. Relationships and sexuality in the Jungian perspective.
Week 4: Klein (1): Klein’s approach to the psychoanalysis of children versus the approach of Anna Freud. The beginnings of the Kleinian revolution in psychoanalysis: the world of the infant within the child. The challenge to the Freudian conception of the Oedipus complex.
Week 5: Klein (2): Klein’s interpretation of Freud’s ‘Eros’ and ‘Thanatos’, and her view of how these conflicting forces play themselves out in the inner world of the very young child. The ‘Paranoid-Schizoid position’ and the ‘Depressive position’. Klein’s ‘Envy and Gratitude’. Klein and Bion.
Week 6: Klein (3): Klein’s view of sexuality and gender, and her critique of Freud’s view of the difference between the sexes. ‘Penis envy’ and ‘Womb envy’: a ‘mother centred’ psychoanalysis, as opposed to the ‘father centred’ psychoanalysis of Freud. Karen Horney’s critique of Freud. The Kleinian view of art and of society.
Week 7: Winnicott (1): Winnicott’s critique of Klein: the crucial importance of the early environment in the development of the infant. ‘Primary maternal preoccupation’, ‘Holding’, ‘Handling’ and ‘Personalization’ in early development. The ‘true self’, the ‘false self’, and ‘going on being’.
Week 8: Winnicott (2): Winnicott’s concept of the ‘Transitional Object’: transitional phenomena and the ‘intermediate area of experience’. Winncott’s understanding of art, culture and religion. Play and the nature of psychotherapy. Winnicott, Bion and Beckett.
Week 9: Winnicott (3): A Winnicottian view of the difference between the sexes. Gender and science; science versus art; the two cultures and their relation to sexuality. The nature of psychoanalysis, and psychotherapy, and their relation to science and to art.
Week 10: Lacan (1): The Lacanian revolution: the function of speech and language in psychoanalysis, and the fateful significance of the ‘mirror stage’. How the unconscious is ‘structured like a language’.
Week 11: Lacan (2): Lacan’s three ‘orders’: the imaginary, symbolic and real. The primacy of the symbolic: psychoanalysis as the study of our relationship to language. The Lacanian understanding of neurosis and psychosis.
Week 12: Lacan (3): ‘The meaning of the phallus’: Lacan’s view of sexuality and gender. A return to a ‘father centred’ psychoanalysis? Irigaray’s critique of Freud and Lacan. Jacqueline Rose on Lacan and Klein. Lacan on Love.
Full price: £190
Friends of the Museum: £160
PROJECTIONS: Darren Aronofsky - The Cinema of Obsession
- 29 January 2018 7-9pm
- 5 February 2018 7-9pm
American film director Darren Aronofsky was once asked if he deliberately aims to make audiences feel uncomfortable. He replied, “I definitely want to make them feel something. I'm inspired by the Cyclone roller coaster in Coney Island, where I grew up. It is the greatest ride in the world. I've always tried to construct my films with the same structure: intense, on the edge of your seat.”
The influence of cinema masters Polanski, Buñuel and Cronenberg is evident in Aronofsky’s ambitious oeuvre, which is built on representing extreme states: isolationists preoccupied with abstract intellectual concepts, addicts consumed with the desire to chase the next mind bending high, public performers who brutally push their bodies and psyches beyond the edge. Aronofsky’s recent release, mother!, is a strikingly violent metaphor that makes the Cyclone roller coaster seem like a walk in the park. Reactions to his films are mixed - spectators either love or loathe the controversial auteur; he certainly isn’t for the faint of heart!
In this 3-week lecture series, six of Aronofsky’s films will be examined in categories relating to Fixation, Performance and Cosmology, referencing psychoanalytic concepts to shed light on the running theme of obsession throughout his body of work. We will engage closely with the director’s signature style (a combination of melodrama, psychological horror, fantasy and surrealism) as he portrays the devastating pitfalls and amplified pleasures of being driven by a singular, extreme passion. The motif of obsession communicates yearning, pain and love in a supercharged way - it is difficult to name a modern director who surpasses Aronofsky in authentically representing this overwhelming emotional experience on film.
Advance viewing is optional, select scenes and montages will be shown during weekly sessions (see filmography below).
Week 1 - FIXATION
Pi (1998): A paranoid mathematician searches for a primer that will unlock the universal patterns found in nature.
Requiem For A Dream (2000): The drug-induced utopias of four Coney Island characters are shattered when their addictions spin out of control.
Week 2 - PERFORMANCE
The Wrestler (2008): A faded professional wrestler must retire, but finds his quest for a new life outside the ring a dispiriting struggle.
Black Swan (2010): A committed dancer wins the lead role in a production of Tchaikovsky's Swan Lake only to find herself struggling to maintain her sanity.
Week 3 - COSMOLOGY
The Fountain (2006): A modern-day scientist struggles with mortality, desperately searching for the medical breakthrough that will save the life of his cancer-stricken wife.
mother! (2017): A couple's relationship is tested when uninvited guests arrive at their home, disrupting their tranquil existence.
PROJECTIONS is psychoanalysis for film interpretation. PROJECTIONS empowers film spectators to express subjective associations they consider to be meaningful. Expertise in psychoanalytic theory is not necessary - the only prerequisite is the desire to enter and inhabit the imaginary world of film, which is itself a psychoanalytic act.
MARY WILD, a Freudian cinephile from Montreal, is the creator of PROJECTIONS.
Full Price: £45
Students/senior citizens/unwaged: £36
Friends of the Museum: £36
- 31 January 2018 7-8:30pm
Despite Freud’s traditional views on women, psychoanalysis was one of the first professions to open its doors to them. Feminists past and present may have contested Freud’s ever-changing understandings of femininity. They have also elaborated on them.
In this discussion, Lisa Appignanesi co-author of the now classic Freud’s Women and psychoanalyst Susie Orbach, founder of the Women’s Therapy Centre and author of that perennial bestseller Fat is A Feminist Issue explore what women past and present have contributed to psychoanalysis.
Freud's Women is held in conjunction with the Freud Museum London's winter exhibition, So This is the Strong Sex, Early Women Psychoanalysts.
ABOUT THE SPEAKERS
Lisa Appignanesi is Chair of the Royal Society of Literature and the Man Booker International Prize. Her many books include Mad, Bad and Sad: A History of Women and the Mind Doctors and Trials of Passion: Crimes in the Name of Love and Madness.
Susie Orbach is a leading psychoanalyst. Amongst her many books are Bodies and In Therapy. Founder of the Women's Therapy Centre and the Women's Therapy Centre Institute, Susie has recently received the first ever Lifetime Achievement Award from the British Psychoanalytic Council.
Full Price £12
Friends of the Museum £10
Students / concessions £10
PROJECTIONS: Neurosis on Film
- 19 February — 26 March 2018
Six-week evening course
Scottish physician William Cullen first employed the term ‘neurosis’ in 1769 to summarise "general diseases of the sense or motion" where there appeared to be no observable organic cause. Sigmund Freud redefined and popularised the neurosis diagnosis in the 20th century, developing it as a central construct in psychoanalytic theory and practice.
PROJECTIONS is psychoanalysis for film interpretation.
PROJECTIONS empowers film spectators to express subjective associations they consider to be meaningful. Expertise in psychoanalytic theory is not necessary - the only prerequisite is the desire to enter and inhabit the imaginary world of film, which is itself a psychoanalytic act. MARY WILD, a Freudian cinephile from Montreal, is the creator of PROJECTIONS.
Advance viewing is optional, select scenes and montages will be shown during weekly sessions (see filmography below).
Week 1 – HYSTERIA: Breakfast at Tiffany’s (1961), Opening Night (1977), Belle De Jour (1967)
Week 2 – OBSESSIONAL NEUROSIS: Brokeback Mountain (2005), Blade Runner 2049 (2017), Four Weddings and a Funeral (1994)
Week 3 – MELANCHOLIA: Les Amours Imaginaires (2010), Knight Of Cups (2015), A Single Man (2009)
Week 4 – LINGUISTIC BLOCK: Deconstructing Harry (1997), Synecdoche, New York (2008), Adaptation (2002)
Week 5 – EXISTENTIAL ANGST: Seconds (1966), Into the Wild (2007), The Zero Theorem (2013)
Week 6 – ETERNAL RETURN: Vertigo (1958), Interstellar (2014), The Duke of Burgundy (2014)
Full Price: £100
Friend of the Museum: £75
Freud & the Ancient World
- 17 March 2018 10am-5pm
Everyone has heard of the Oedipus complex. Freud's ideas have left a profound impression on the modern cultural imagination. But where did Freud's Oedipus come from? And how did he come up with the phallic mother? How did Freud invent a new way of reading literature and art? And what intellectual history made Freud's psychoanalysis of religion and civilisation possible?
Just as Freud exhorted us to search out the origins of our desires and identities - to become a modern Oedipus - so this series of public lectures excavates the origins of Freud's ideas. We will learn that there would have been no psychoanalysis without Freud's obsession with the ancient world.
First session: examines the importance of ancient ideas about desire and pleasure for Freud's understanding of gender and sexuality.
Second session: will consider the significance of ancient texts for Freud's discussions of literature and art.
Third session: will look at how Freud's discussions of Judaism, Christianity and modern civilisation emerged out of his interest in ancient religion. When Freud formulated the contours of the modern individual in modern society, he could not help but look back to antiquity to understand who we are.
Dr Daniel Orrells is Reader in Ancient Literature and Its Reception at King's College London, where he is Head of the Department of Classics. His research examines the presence of classical antiquity in modern cultural, literary and intellectual history. His most recent book 'Sex: Antiquity and its Legacy' offers a fresh, new narrative about the importance of the ancient world for the development of sexology and psychoanalysis
Dr Daniel Orrells' book 'Sex: Antiquity and it Legacy' is available from the Museum shop.
9.30am - open
10am - first session
12pm - lunch break
12.45pm - second session
2.45pm - tea break
3pm - third session
5pm - finish
Tea and coffee will be provided during both breaks. Please note: there is no cafe on site, however, you are welcome to bring your own lunch, which can be consumed in the classroom, or the Museum garden if the weather is fine.
Full Price £70
Friend of the Museum £55
Students/senior citizen/unwaged £50
Student Friend of the Museum £45
Monster Love: Facing Fauna Phobia
- 24 March 2018 1-3pm
This workshop invites participants to bring out and tackle irrational other-than-human animal fears through crafting. The aim is to reduce biophobia, and encourage in its place biophilia and nature connection (Kellert & Wilson, 1993). The process has its roots in exposure therapy with the core protocol that one should ‘go towards that which you are afraid of’ (Wilson, 2012).
In spending time reflecting on the features of one’s fear, and drawing, cutting and sewing a cuddly version of it, there is keen potential to shift from a negative to a positive belief system. The resultant artefact prolongs the exposure experience, serving in intention to reduce the twin phobia components – fear and disgust (Richard & Lauterbach, 2006), before becoming a memento, a souvenir that commemorates one’s taming of a personal monster.
Monster Love forms part of a practice-based research programme undertaken by Sarah Johnson, a Design PhD student at Kingston School of Art. Participants will be requested to undertake a brief ‘connection to nature’ task pre- and post-workshop, and complete a short debriefing questionnaire/interview.
Research design will be given full ethics clearance by Kingston University ahead of the workshop. Sarah’s research is funded by the London Doctoral Design Centre and can be found here.
- Family friendly
Free with admission - it is necessary to reserve places on Eventbrite in advance
Children under 12: Free
Freud Museum London
20 Maresfield Gardens
020 7435 2002
020 7431 5452