“Salvador Dalí reimagines the iconic Venus de Milo, transforming the classical statue into a surreal "anthropomorphic cabinet" complete with drawers and mink pom-poms, inviting you to explore the hidden depths of desire.”
A familiar classical form becomes a vessel for the subconscious in this sculpture. Here, a half-size plaster reproduction of the ancient Greek Venus de Milo is transformed, her smooth, classical body interrupted by a series of drawers. Each drawer, adorned with a silky mink pom-pom, protrudes from unexpected places: her forehead, breasts, stomach, abdomen, and left knee. This unsettling combination of cool, painted plaster and soft, luxurious fur exemplifies the Surrealist interest in bringing together disparate elements to create new realities. The work materializes a "delirious character" by turning the goddess of love into an "anthropomorphic cabinet," a concept influenced by Sigmund Freud and Dada artist Marcel Duchamp. This piece culminates explorations into the deep, psychological mysteries of sexual desire, symbolized by the ancient goddess.
- Artist
- Salvador Dalí
- Date
- 1936
- Medium
- Painted plaster with metal pulls and mink pom-poms
- Location
- Art Institute of Chicago
- Dimensions
- 98 × 32.5 × 34 cm (38 5/8 × 12 3/4 × 13 3/8 in.)
- Collection
- Modern Art
- Culture
- Spain
- Credit line
- Through prior gift of Mrs. Gilbert W. Chapman
What to Notice
Four details hide in plain sight. Here’s where to look.

The mink pom-poms on each drawer pull, adding a tactile, sensuous quality.
The precise, almost anatomical placement of the drawers on the figure's body.
The contrast between the smooth, white plaster and the dark, soft fur.
The way the drawers disrupt the classical proportions of the Venus de Milo.
Stand in front of it and listen
The full narration walks you through Venus de Milo with Drawers — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
Salvador Dalí
1904–1989 · SpainDalí painted melting clocks and dream logic with the precision of an Old Master — then became the most famous eccentric alive.
Further Works by Dalí
Untitled (Desert Landscape)
1934 · Art Institute of Chicago
A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano
1936 · Art Institute of Chicago
Inventions of the Monsters
1937 · Art Institute of Chicago
Untitled (Dream of Venus) formerly Visions of Eternity
1939 · Art Institute of Chicago
Gala
1931 · Dalí Theatre and Museum
Portrait of Gala with Two Lamb Chops in Equilibrium upon Her Shoulder
1934 · Art Institute of Chicago
City of Drawers
1936 · Art Institute of Chicago
The Image Disappears
1938 · Art Institute of Chicago
More from Surrealism
More works to explore
Beyond Dalí and Surrealism: works from the same years.
Same era · 1920s–1950s
Lozenge Composition with Yellow, Black, Blue, Red, and Gray
Piet Mondrian · 1921 · Art Institute of Chicago
Same era · 1920s–1950s
Deux personnages
Pierre Alechinsky · 1950
Same era · 1920s–1950s
Divided and Divided
Ivan Puni · 1941 · Art Institute of Chicago
Same era · 1920s–1950s
American Gothic
Okada Saburosuke · 1930 · Art Institute of Chicago
Same era · 1920s–1950s
Straße mit Passanten bei Nachtbeleuchtung
Ernst Ludwig Kirchner · 1927 · Museum Frieder Burda
Same era · 1920s–1950s
The Indestructibles
Philip Evergood · 1946 · Art Institute of Chicago
Same era · 1920s–1950s
Woman at an Easel (Green Screen)
Georges Braque · 1936 · Art Institute of Chicago
Same era · 1920s–1950s
Garden Airplane-Trap
Max Ernst · 1935 · Art Institute of Chicago
Same era · 1920s–1950s
On the Threshold of Liberty
René Magritte · 1937 · Art Institute of Chicago
Same era · 1920s–1950s
Two Women on the Shore
Edvard Munch · 1935 · Munch Museum
Same era · 1920s–1950s
Women Harvesting
Paul Klee · 1937 · Art Institute of Chicago
Same era · 1920s–1950s
White Crucifixion
Marc Chagall · 1938 · Art Institute of Chicago




