Winterreise, Arietta, Nicht zu Geschwind und Sehr Singbar Vorgetragen
24×20
Oil on linen
Painting Notes:
- Lipton Tea Ad
- Lawrence Alma-Tadema: Strigils and Sponges, 1879.
- Bruegel: The Fall of Rebel Angels, 1562.
- Millais: The Bridesmaid, 1851.
- Harnett: The Golden Horseshoe, 1886.
- George Hrriman: Krazy Kat and Yves-Alain Bois’ aperçu.
- Jackson Pollock: Untitled, 1948-9.
- Atkinson Grimshaw: Nightfall down the Thames, 1880.
- Der Leiermann
- Klimt: Judith I, 1901.
- Millais: Ferdinand lured by Ariel, 1849-50.
- Peter Blake: Titania, 1976-83.
- Saul Steinberg: Woman in Tub, 1949.
- Peto: Pipe and Tray, c. 1900.
- Anne Bennent: Swann in Love, 1984.
- Giandominico Tiepolo: The Carnival Scene, 1754-5.
- Degas: Mlle. Lala au Cirque Fernando, 1879.
- Tissot: Les Femmes de Sport
- Peter Blake: Drum Majorette, 1957.
- Anon: Dr. No, 1961.
- Lichtenstein: As I opened Fire, 1964.
- Bonnard: Nude in the Bath, 1925.
- Damien Hirst: The Physical Impossibility of Death in the Mind of Someone Living, 1991.
- G. Mahler
- Harnett: Attention Company!, 1878.
- Muybridge: n. t., n.d.
- Degas: La Classe de danse, 1874.
- Saul Steinberg: Artist, 1970.
- Sometimes a kiss is just a kiss, but on other occasions — as when lips meet a painting valued at $2.7 million — a kiss could be a crime. That is why Sam Rindy, 30, a Cambodian-born French artist, will have to appear in court to face charges of criminal damage, Agence France-Presse reported. Ms. Rindy left the imprint of her lipstick on the otherwise immaculate white canvas that is an untitled work by the American artist Cy Twombly at “Blooming,” an exhibition of his works running until Sept. 30 at the Collection Lambert in Avignon, France. Ms. Rindy said she was so overcome by the 9-by-6-foot work that she had to kiss it.
- Charles Atlas ad.
- Degas: The Name Day of the Madam, 1877-9.
- Klimt: Church at Cassone, 1913.
- Prudence Crowther: Snapshot St. Barts, 1949.
- Harnett: After the Hunt, 1884.
- Anon: Ursula Andress, Dr. No, 1961.
- Bruegel: The Combat between Carnival and Lent, 1566.
- Crepax: The Story of O, n.d.
- Julia Cameron: Alice Liddel, n.d.
- Chardin: Still Life with Ray and Basket of Onions, 1731.
- Sun-Brute, H. W. Pacino, Baltimore,MD
- Magritte: L’Homme au Chapeau Melon, 1964.
- Anon: Night of the Living Dead, 1969.
- Beethoven: Arietta. [I hope]
- Bruegel: Dulle Griet, 1561.
- Bruegel: Dulle Griet, 1561.
- Bruegel: Dulle Griet, 1561.
- Hats: Jack Ruby Group.
- Bruegel: The Combat between Carnival and Lent, 1566.
- Hats: Jack Ruby Group.
- Damien Hirst: The Physical Impossibility of Death in the Mind of Someone Living, 1991.
- Chardin: The Fast-Day Meal, 1731.
- Chardin: The House of Cards, c.1737.
- Hats: Jack Ruby Group.
- Chardin: Pestle and Mortar…, 1734-5
- Anon: Baiser Voles, 1969.
- Millais: Ophelia, 1851-2.
- Peter Pain with an appreciation of Cy Twombly.
- Orson Welles: The Third Man,
- Ryk*E!: Rubber Chicken Foot.
“CY TWOMBLY excites art critics in ways that perhaps no other American abstract artist does,” observed this paper in 2004. In part this was because he was one of the few Abstract Expressionists left who was not only alive but also still grappling with canvas. But his work (dubbed “post-Abstract Expressionist”) can also be difficult, full of scratches and phalluses, filth and the occasional lofty classical allusion. His mix of subversive vulgarity and grand ideas earned him zealous followers and not a few detractors. Indeed it is this divisiveness—this singular ability to excite—t
Jul 6th 2011, 15:45 BY THE ECONOMIST ONLIN