Princess Marie Bonaparte and TOPSY the Story of a Golden Haired Chow

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Princess Marie Bonaparte and TOPSY The Story of a Golden Haired Chow Pr incess Marie Bonaparte sitting on Oscar Nemon’s Sculpture of Topsy, Paris, 1961 First edition published in 1940, TOPSY, is a psychoanalytic tale of the effects of a dog on its owner; the analyst is the great Marie Bonaparte. Only after being told that her chow had cancer did she realize the attachment she developed to Topsy. She describes the emotions she experienced during the time of Topsy’s illness and subsequent healing. Written in France and Greece at the onset of World War II, the story of Topsy’s cancer clearly is intended to convey the ills of Europe at that time. Above: Circa 1930’s Topsy with mistress Marie Bonaparte C LICK HERE TO READ THE ENTIRE BOOK ONLINE Bonaparte’s relationship with her dog reveals her own fears about aging, dying, being alone, as well as the uncertainty of the political situation. As she tells her story, Bonaparte is reminded of the experience of her father, who also suffered from cancer. Topsy, while not written as a scientific study, provides insight into the psychoanalytical effects of relationships between humans and animals. It tells us much about one of psychotherapy’s founding personages as well as the members of her professional circle in a critical period of European history. The real Topsy seated next to his sculpture. As far as I know the sculpture still is in the Ashmolean Museum in Oxford. In the new introduction, Gary Genosko reflects onSigmund Freud’s own affection for, and use of, dogs in his analyses. He goes on to describe the relationship between Freud and Bonaparte and how dogs played a significant part in that companionship. Topsy will be of interest to psychologists, psychiatrists, and those who love, and have been loved by dogs. Marie Bonaparte: Sigmund Freud: The Chow , Lun lies at his feet: Martha Freud: Ernst Freudt: Josefine Stross Sculptor Nemon and Freud and his chow Yofi at Freud’s summer home, 1931 READ MUCH MORE ABOUT SIGMUND FREUD AND HIS MANY CHOWS AT THIS LINK An older edition from Abes Books .

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Post-War Public Art Protection, Care and Conservation In partnership with Summary Public art can be enjoyed by us all. Everyone can play a part in valuing and caring for it. This guidance is aimed at anyone who manages or has responsibility for post-war public art, including local authorities, charitable bodies, community groups, heritage professionals and custodians. Public art is defined here as fixed artworks which members of the public are able to access and enjoy, in public, semi-public or privately owned public space, whether outdoors or indoors. This document outlines good practice on the care and management of post-war public art, including regular maintenance and planned conservation work. It sets out the different ways that the best of our public art can be identified and protected and the statutory duties that relate to its ownership and care. Key principles include a clear understanding of ownership and lines of responsibility; inclusive and transparent decision making; regular condition checks to detect potential sources of harm; and engaging the public in valuing and caring for public art. This guidance document is part of Historic England’s range of practical guidance which helps people care for their historic places. It complements Historic England’s Introduction to Heritage Assets, Public Art 1945–95. This guidance note has been prepared by Geraint Franklin. First published by Historic England in September 2016. All images © Historic England unless otherwise stated. HistoricEngland.org.uk/images-books/publications/post-war-public-art-protection- care-conservation/ Front cover Detail of Magic Garden, a mixed-media mural of 1961 by the (Carr was one of the first artists to use screen printing in artist Francis Carr (1919-2013).
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