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Mona Lisa to Marge Mona Lisa to Marge How the World’S Greatest Artworks Entered Popular Culture

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Mona Lisa to Marge Mona Lisa to Marge How the World’S Greatest Artworks Entered Popular Culture mona lisa to marge mona lisa to marge How the World’s Greatest Artworks Entered Popular Culture Francesca Bonazzoli Michele Robecchi Preface by Maurizio Cattelan Prestel Munich · London · New York mona lisa to marge How the World’s Greatest Artworks Entered Popular Culture Francesca Bonazzoli Michele Robecchi Preface by Maurizio Cattelan Prestel Munich · London · New York contents 6 Image to Power 46 MONA LISA (ca. 1503–6) 82 LUnchEON 118 ThE PERSISTEncE Preface by Maurizio Cattelan Leonardo Da Vinci ON THE GRASS (1863) OF MEMORY (1931) Édouard Manet Salvador Dalí 8 How to Become an Icon 50 DAVid (ca. 1504) Introduction by Francesca Bonazzoli Michelangelo Buonarroti 86 THE ThinKER (1880–81) 122 GUERnicA (1937) Auguste Rodin Pablo Picasso 54 CREATION OF ADAM (ca. 1511) Michelangelo Buonarroti 90 SUNFLOWERS (1888–89) 126 WhiTE And RED / Vincent van Gogh COmpOSITION WITH RED, 58 SISTinE MADOnnA (1512–13) BLUE, And YELLOW (1937–42) Raphael 94 ThE SCREAM (1893) Piet Mondrian Edvard Munch 22 DISCOBOLUS (ca. 480–440 bc) 62 LAS MEninAS (1656) 130 NighTHAWKS (1942) Myron Diego Velázquez 98 JANE AVRIL Edward Hopper JARdin DE PARIS (ca. 1893) 26 NIKE OF SAMOTHRACE (ca. 295–287 bc) 66 GIRL WITH Henri de Toulouse-Lautrec 134 GOLD MARILYN MONROE (1962) Anonymous A PEARL EARRinG (ca. 1665) Andy Warhol Johannes Vermeer 102 WATER LiLY POnd, 30 VENUS DE MILO (ca. 200 bc) GREEN HARMONY (1899) 138 SON OF MAN (1964) Anonymous 70 NAKED MAJA (1797–1800) Claude Monet René Magritte CLOTHED MAJA (1807–08) 34 LAOCOÖN And HIS SONS (ca. 42–20 bc) Francisco de Goya 106 ThE KiSS (1907–08) Agesandros, Athanadoros and Polydoros Gustav Klimt 74 LibERTY LEAding 38 BIRTH OF VENUS (ca. 1484) THE PEOPLE (1830) 110 DAncE (1909–10) Sandro Botticelli Eugène Delacroix Henri Matisse 142 Essential Reading 42 LAST SUppER (ca. 1494–98) 78 ThE GREAT WAVE (ca. 1830–32) 114 AMERICAN GOThic (1930) 144 Credits Leonardo Da Vinci Katsushika Hokusai Grant Wood contents 6 Image to Power 46 MONA LISA (ca. 1503–6) 82 LUnchEON 118 ThE PERSISTEncE Preface by Maurizio Cattelan Leonardo Da Vinci ON THE GRASS (1863) OF MEMORY (1931) Édouard Manet Salvador Dalí 8 How to Become an Icon 50 DAVid (ca. 1504) Introduction by Francesca Bonazzoli Michelangelo Buonarroti 86 THE ThinKER (1880–81) 122 GUERnicA (1937) Auguste Rodin Pablo Picasso 54 CREATION OF ADAM (ca. 1511) Michelangelo Buonarroti 90 SUNFLOWERS (1888–89) 126 WhiTE And RED / Vincent van Gogh COmpOSITION WITH RED, 58 SISTinE MADOnnA (1512–13) BLUE, And YELLOW (1937–42) Raphael 94 ThE SCREAM (1893) Piet Mondrian Edvard Munch 22 DISCOBOLUS (ca. 480–440 bc) 62 LAS MEninAS (1656) 130 NighTHAWKS (1942) Myron Diego Velázquez 98 JANE AVRIL Edward Hopper JARdin DE PARIS (ca. 1893) 26 NIKE OF SAMOTHRACE (ca. 295–287 bc) 66 GIRL WITH Henri de Toulouse-Lautrec 134 GOLD MARILYN MONROE (1962) Anonymous A PEARL EARRinG (ca. 1665) Andy Warhol Johannes Vermeer 102 WATER LiLY POnd, 30 VENUS DE MILO (ca. 200 bc) GREEN HARMONY (1899) 138 SON OF MAN (1964) Anonymous 70 NAKED MAJA (1797–1800) Claude Monet René Magritte CLOTHED MAJA (1807–08) 34 LAOCOÖN And HIS SONS (ca. 42–20 bc) Francisco de Goya 106 ThE KiSS (1907–08) Agesandros, Athanadoros and Polydoros Gustav Klimt 74 LibERTY LEAding 38 BIRTH OF VENUS (ca. 1484) THE PEOPLE (1830) 110 DAncE (1909–10) Sandro Botticelli Eugène Delacroix Henri Matisse 142 Essential Reading 42 LAST SUppER (ca. 1494–98) 78 ThE GREAT WAVE (ca. 1830–32) 114 AMERICAN GOThic (1930) 144 Credits Leonardo Da Vinci Katsushika Hokusai Grant Wood 6 — 7 image I have a confession to make: I would like to write this pref- and repeating it in a different context. It’s a question ace using images; words are not for me. To give meaning of language, a journey in which ongoing exchanges of to what I have in my head, using a string of words, one af- information enrich every stage. Just as ideas are in con- ter another, never satisfies me. What is always missing is tinual circulation, images can be as well—they belong to power the Word that sums up everything. Images, on the other simultaneously to everyone and to no one. It’s good to hand, are concise—they can be simultaneously comic and consider, as this book does, the innumerable lives of these tragic, for example. Everything there is to know is there; artworks. Let us not forget that people stopped liking one glance is enough to understand. Monet’s Water Lilies precisely when they were given a Preface by It’s funny, because a few decades ago they said the museum all to themselves; that Botticelli’s Birth of Venus future would be synesthetic—the supremacy of the eye had to wait for supermodel Claudia Schiffer in order to would be over. Things didn’t exactly turn out that way. become truly popular; and that even Leonardo’s Mona Maurizio Cattelan We spend most of our time looking at a screen and con- Lisa inspired crowds to line up in front of the Louvre vince ourselves that we know the world through it. Im- only after it was stolen in 1911. Each had the occasion to ages have a persuasive power that exceeds any word. become an icon, and each, in turn, has been transformed Whoever wants to hold sway over the masses has always from icon into myth. And if myths emerge in order to produced and controlled images: once it was popes and explain a society’s culture and customs, I can think of kings, today it’s advertising agencies. We can’t stop look- nothing more representative of our time than Michelan- ing at images; they appeal to us irresistibly. We end up gelo’s Creation of Adam, materializing on-screen every obsessed with them. Trying to determine why risks strip- time someone turns on a Nokia cell phone. ping them of their magic, diminishing their fascination, destroying their myth. It is a bit like vivisection: interest- ing, even fundamental, discoveries can be made, but the patient tends to expire during the operation. Personally, I don’t believe in the sacredness of images. Perhaps not all of the artists in this book would be proud to see their work reproduced on mugs and slippers, but this is basically how they achieved immortality. Mass society has adopted these masterpieces and transformed them into advertising campaigns and merchandise. This is how they have become familiar, a public and everyday legacy. It’s like taking a phrase overheard in conversation 6 — 7 image I have a confession to make: I would like to write this pref- and repeating it in a different context. It’s a question ace using images; words are not for me. To give meaning of language, a journey in which ongoing exchanges of to what I have in my head, using a string of words, one af- information enrich every stage. Just as ideas are in con- ter another, never satisfies me. What is always missing is tinual circulation, images can be as well—they belong to power the Word that sums up everything. Images, on the other simultaneously to everyone and to no one. It’s good to hand, are concise—they can be simultaneously comic and consider, as this book does, the innumerable lives of these tragic, for example. Everything there is to know is there; artworks. Let us not forget that people stopped liking one glance is enough to understand. Monet’s Water Lilies precisely when they were given a Preface by It’s funny, because a few decades ago they said the museum all to themselves; that Botticelli’s Birth of Venus future would be synesthetic—the supremacy of the eye had to wait for supermodel Claudia Schiffer in order to would be over. Things didn’t exactly turn out that way. become truly popular; and that even Leonardo’s Mona Maurizio Cattelan We spend most of our time looking at a screen and con- Lisa inspired crowds to line up in front of the Louvre vince ourselves that we know the world through it. Im- only after it was stolen in 1911. Each had the occasion to ages have a persuasive power that exceeds any word. become an icon, and each, in turn, has been transformed Whoever wants to hold sway over the masses has always from icon into myth. And if myths emerge in order to produced and controlled images: once it was popes and explain a society’s culture and customs, I can think of kings, today it’s advertising agencies. We can’t stop look- nothing more representative of our time than Michelan- ing at images; they appeal to us irresistibly. We end up gelo’s Creation of Adam, materializing on-screen every obsessed with them. Trying to determine why risks strip- time someone turns on a Nokia cell phone. ping them of their magic, diminishing their fascination, destroying their myth. It is a bit like vivisection: interest- ing, even fundamental, discoveries can be made, but the patient tends to expire during the operation. Personally, I don’t believe in the sacredness of images. Perhaps not all of the artists in this book would be proud to see their work reproduced on mugs and slippers, but this is basically how they achieved immortality. Mass society has adopted these masterpieces and transformed them into advertising campaigns and merchandise. This is how they have become familiar, a public and everyday legacy. It’s like taking a phrase overheard in conversation 8 — 9 But if we had to name anything which is the life of the sign, we should have to say that it was how its use.
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