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: £7
Concs: £5.00 (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.
Freud, Dalí and the Metamorphosis of Narcissus
- 3 October 2018 — 24 February 2019 *on now
Sigmund Freud and Salvador Dalí are two of the most significant and influential figures of the twentieth century.
Dalí was a passionate admirer of the father of psychoanalysis and finally met him in London on July 19th 1938. This year 2018 marks the 80th anniversary of this event. A new exhibition at the Freud Museum will explore the connection between the two men, starting from their one meeting, to which Dalí brought his recently completed painting The Metamorphosis of Narcissus.
The painting, on loan from the Tate, will be the central point in the exhibition for an exploration of the extensive influence of Freud on Dalí and on Surrealism. Also considered will be Freud’s own attitude to painting, illuminated by his response to this encounter with Dalí.
Dalí had read The Interpretation of Dreams as an art student in Madrid in the early 1920s. This was, he wrote, “one of the capital discoveries of my life, and I was seized with a real vice of self-interpretation, not only of my dreams but of everything that happened to me.” This passion for self-interpretation took not just visual but also written form. In 1933 Dalí wrote a “psycho-analytical essay”, as he described it, on the famous painting by Jean-François Millet, The Angelus. The essay was eventually published as a book, The Tragic Myth of Millet’s ‘Angelus’. In it, Dalí explores his own obsession with the painting, which he lays out in the form of a Freudian case history.
In 1938, after several attempts, Dalí finally met his hero Freud, newly arrived in London after fleeing from Nazi-occupied Vienna. The meeting was brokered by Stefan Zweig, who was present, together with Dalí’s friend and patron Edward James, who owned The Metamorphosis of Narcissus. Dalí hoped his painting would allow him to engage Freud in a discussion of the psychoanalytical theory of Narcissism and would help him to demonstrate his concept of critical paranoia.
Dali was given permission to sketch Freud during the visit. These drawings, now in the Fundacio Gala-Salvador Dalí in Spain, will be on display, and Dali’s long poem with the same title as the painting, The Metamorphosis of Narcissus. There will also be material from the Freud Museum’s archive and collections, shedding light on Freud’s attitude to Dalí and their meeting.
Other themes of the exhibition will include the classical origins of the myth of Narcissus and the place of narcissism in psychoanalytic thinking. Freud’s own collections will play a part. For example, they include a copy of the classical relief Gradiva; Freud’s study of Wilhelm Jensen’s novel Gradiva was the inspiration for some of Dalí’s important paintings and drawings on this theme from the early 1930s.
Through images, including original paintings and drawings, photographs and prints, and documents including letters, manuscripts, books and Freud’s appointment diary, the intense – if somewhat one-sided -relationship between two extraordinary thinkers and creators will be explored.
The exhibition will be curated by the distinguished art historian Dawn Ades, curator of the recent highly successful Dali/Duchamp exhibition at the Royal Academy of Arts.
£9, £7, £5
Psychoanalysis After Freud
- 10 January — 28 March 2019
12-week evening course exploring Jung, Klein, Winnicott and Lacan.
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.)
Tutor: Keith Barrett BA PhD
£130 - £190
Lacan, Deleuze and the Baroque
- 13 January 2019 10am-5pm
Deleuze and Lacan paid considerable attention to the baroque. Deleuze centres his 1988 book 'The Fold' on this topic. Lacan dedicates to it some intense passages of a crucial lesson of his 1972-73 Seminar 'Encore'. In this one-day intensive course we will compare and contrast their stances on what they deem to be an exceptional form of art and thought.
We will begin by showing how Lacan and Deleuze equally single out the baroque as an aesthetics that profoundly rethinks the notion of the subject as non-substantial. In Lacan’s words, the baroque evidences that the subject is not ‘a punctiform being that gets his bearings at the geometral point from which the perspective is grasped’. In turn, these considerations lead both authors to understand the baroque object as a ‘non essential object’ (Deleuze) that is strictly connected with a meaningless event, or atopia, and what they call anamorphosis.
Secondly, we will consider Deleuze’s and Lacan’s analogous assessments of the historical and epistemological context from which the baroque originates. For Deleuze, the latter witnesses to an incipient ‘collapse of the world’ as supposedly supported by Reason, and to a ‘transition’ exemplified paradigmatically by Leibniz’s theodicy. For Lacan, the baroque should be seen as a contradictory attempt to cope with the fact that, by the sixteenth century, ‘the world is in a state of decomposition’ due to the crisis of classical episteme and Christianity.
Thirdly, we will dwell on how both authors elaborate their own philosophical and psychoanalytical projects as explicitly neo-baroque endeavours to radicalise the baroque and overcome its impasses. We will here take into account Deleuze’s metaphysics of chaos, which turns Leibniz against himself, and Lacan’s notion of enjoyment as always lacking, which takes the message of Christianity about earthly abjection one step further and subverts it.
Finally, we will discuss how Deleuze’s and Lacan’s surprisingly similar treatment of the baroque and its legacy enables us to pinpoint the general ontological disagreement on which this specific convergence rests. While for Deleuze the process of folding highlighted by the baroque ultimately points in the direction of a pre-subjective cosmogenetic factor, or ‘Fold’, for Lacan it can only be related to the structure of the subject as linguistically split.
- Not suitable for children
£45 - £65
Alfred Hitchcock’s “Spellbound”
- 20 January 2019 2-5pm
The Freud Museum is proud to present a screening of Alfred Hitchcock’s 1945 classic "Spellbound", followed by a discussion between psychoanalyst Andrea Sabbadini and film scholar Professor Peter Evans.
"Spellbound" follows the story of a young female psychiatrist, Dr. Constance Peterson (Ingrid Bergman) who protects the identity of the impostor Dr Anthony Edwardes (Gregory Peck), an amnesiac accused of murder while he attempts to recover his memory.
The film famously features a scene known as the “Dream Sequence” designed and produced by the Surrealist artist, Salvador Dalí, in collaboration with Alfred Hitchcock. The screening coincides with the Freud Museum’s current exhibition "Freud, Dalí and the Metamorphosis of Narcissus".
£9 - £12
PROJECTIONS: Erotic Cinema. Six week evening course.
- 21 January — 25 February 2019
The depiction of sexuality can have a pronounced effect on character development, shaping the direction of a film’s central themes. Sigmund Freud believed that “the behaviour of a human being in sexual matters is often a prototype for the whole of their other modes of reaction in life.” We respond to provocative content that ‘turns us on’; risqué scenes make the heart beat faster and ignite the imagination. Psychoanalysts regard sexuality as the key to understanding how the mind works; “no one who disdains the key will ever be able to unlock the door,” Freud warned.
Eros, the Ancient Greek word for romantic love, is tantamount to the life instinct in psychoanalysis, constituting the pleasures of the flesh, procreation, survival, productivity and the desire to unite with others. Early on, Freud defined erotic impulses as being opposed by the Ego. But later, in Beyond The Pleasure Principle (1920), he placed Eros in contrast to the so-called ‘death wish’: repetition, aggression, a masochistic need to sabotage what we love, and the compulsion to return to an inorganic state (i.e., Thanatos).
The simultaneously binding and clashing forces of sex and death together form an entwined dual system that is the source of all creation. PROJECTIONS: Erotic Cinema is a 6-week course exploring this paradoxical tension in eroticism, tracing its manifestation in moving image, from unbridled passions to destructive urges, via deviant practices, to a more diverse and inclusive representation of romance, culminating in a study of modern technology’s impact on the realm of the senses.
£75 - £100
Pelvic Gazing at the Frauenklinik: Egon Schiele’s Clinical Modernism
- 23 January 2019 7-8:30pm
In 1910, the prodigious young artist Egon Schiele (1890-1918) completed a series of life-studies of heavily pregnant women and new-born babies at the Second Women’s Clinic within the University of Vienna’s General Hospital. This was one of two public clinics and teaching institutions for gynaecology and obstetrics which had opened to international acclaim just two years previously.
Combining visual analysis with an investigation of the Clinic’s ‘progressive’ facilities, practices and pedagogies, the presentation will reflect upon the entanglement of the artistic and medical gaze in the modern period, and its occlusion in modernist art history.
How does a retrieval of the clinical context for Schiele’s work enable us to engage with the social and sexual politics of medical specialisation and modernist representation?
How do these politics problematise the historicising of this and other modern artists’ images of the naked female body as the pursuit of fundamental human truths?
Gemma Blackshaw, Professor of Art History at the University of Plymouth, has an international reputation for research on art in ‘Vienna 1900’. She curated the major exhibition Facing the Modern: The Portrait in Vienna 1900 for the National Gallery London in 2013. She co-curated Madness and Modernity: Mental Illness and the Visual Arts in Vienna 1900 at the Wellcome Collection, London, in 2009, which, as a result of its critical reception, was restaged in an expanded form at the Wien Museum, Vienna, in 2010. She has published widely on modernist Viennese portraiture and figuration, with a particular focus on its intersections with modern medicine’s visual, institutional and therapeutic regimes.
£9 - £12
Surrealism & Psychoanalysis: Conquest of the Irrational?
- 27 January 2019 10am-5:30pm
In 1938 Salvador Dalí met Freud in London, bringing with him his painting Metamorphosis of Narcissus and a new article about his ‘paranoiac-critical’ method, first described in his book Conquest of the Irrational.
Freud was an inspiration for the Surrealists and they were well-versed in his ideas, particularly his work on dream theory, free association, and investigations into the workings of the unconscious. In the 1924 Surrealist Manifesto, André Breton defined Surrealism as “pure psychic automatism”, in other words, the uncensored workings of the unconscious. In later years Jacques Lacan’s close relationship with the Surrealists led to a lasting bond that continued to link psychoanalysis and surrealism until the present day. Can the paranoiac-critical method be a valid means of understanding psychosis?
This conference will address psychoanalysis and its impact on Surrealism and the impact of Surrealism on psychoanalysis, bringing together art historians, psychoanalysts, authors and artists to reflect on the many facets of this relationship.
The conference will be held at The Anna Freud Centre, 12 Maresfield Gardens, London, NW3 5SU
- Not suitable for children
£45 - £65
PROJECTIONS: Cinematic representations of mental illness
- 9 February 2019 10am-5:30pm
Guy de Maupassant once said, “A sick thought can devour the body’s flesh more than fever or consumption.” Mental illness is one of the leading causes of the overall disease burden worldwide. Depression and anxiety are reported to be among the main drivers of disability in Western countries.
The cinema is a chronicler of transformation revealing the soul’s sublime dreams; it is also a useful mode of expression for the pain endured by a fragmented mind. Compared to other art forms, the film medium possesses a unique capacity to showcase the complexity of human emotion, and so occupies a privileged position in conveying the subjective experience of psychological disturbance.
In this day course, a selection of films portraying psychiatric diagnoses will be explored, with information provided on the emergence and development of distinct clinical categories including anxiety, depression and psychosis. In addition to in-depth content analysis of visual material, discussions will be held on the role of moving image culture in shaping public perception and social attitudes toward mental disorders.
£48 - £65
Art Macabre Surrealist Life Drawing Salon Self Love, Reflection and Sketching
- 13 February 2019 7-9pm
Art Macabre present a series of tableaux featuring nude models, creative installations within the museum’s rooms to sketch and draw from (including creating an intimate self portrait), and poetry. Inspired by the myth of Narcissus, we will explore through drawing themes of self-love, surrealism and psychoanalysis. An opportunity for self-reflection and creative exploration through sketching. An alternative to St Valentines, join us to explore the relationship between Dali and Freud and between you and your self in the unique setting of the Freud Museum.
All drawing materials and paper provided thanks to the support of GreatArt.
Part of an exciting series of talks and events which coincide with ‘Freud, Dali and the Metamorphosis of Narcissus’ on display the Museum from 3 October 2018 – 24 February 2019.
Entry to the museum and exhibition included in your ticket.
£17 - £20
Freud Museum London
20 Maresfield Gardens