DC -- Natl Gallery of Art -- West Wing -- Exhibit: Sense of Humor:
Bruce Guthrie Photos Home Page: [Click here] to go to Bruce Guthrie Photos home page.
Description of Pictures: Sense of Humor
July 15, 2018 – January 6, 2019
Humor may be fundamental to human experience, but its expression in painting and sculpture has been limited. Instead, prints, as the most widely distributed medium, and drawings, as the most private, have been the natural vehicles for comic content. Drawn from the National Gallery of Art’s collection, Sense of Humor celebrates this incredibly rich though easily overlooked tradition through works including Renaissance caricatures, biting English satires, and 20th-century comics. The exhibition includes major works by Pieter Brueghel the Elder, Jacques Callot, William Hogarth, James Gillray, Francisco de Goya, and Honoré Daumier, as well as later examples by Alexander Calder, Red Grooms, Saul Steinberg, Art Spiegelman, and the Guerrilla Girls.
The exhibition is curated by Jonathan Bober, Andrew W. Mellon senior curator of prints and drawings; Judith Brodie, curator and head of the department of American and modern prints and drawings; and Stacey Sell, associate curator, department of old master drawings, all National Gallery of Art, Washington.
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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.
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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. " ") are described as follows:
NGAHUM_180729_009.JPG: Francesco Melzi, after Leonardo da Vinci
Two Grotesque Heads
Leonardo was the first artist to explore facial appearance for its own sake. It is doubtful that these drawings were caricatures of actual individuals. Rather, they represent types. Some suggest an attempt to capture the physical manifestation of an emotion and relate to figures in his paintings. Most, however, seem to arise from the imagination, with no specific source or purpose. This pair of studies was surely created in Leonardo's studio, probably by his most faithful pupil, Francesco Melzi.
NGAHUM_180729_021.JPG: Jusepe de Ribera
Head of a Man
NGAHUM_180729_028.JPG: Pier Francesco Mola
Caricature with Mola Protecting Himself from a Man Holding a Viper
NGAHUM_180729_032.JPG: LÉON DAVENT, AFTER LUCA PENNI
French, active 1540 - 1556
Venus and Mars Served by Cupid
and the Three Graces
Ruth and Jacob Kainen Memorial Acquisition Fund, 2016
This print underscores the ribald wit that often accompanied the stylized elegance of the so-called School of Fontainebleau, which arose during the decoration of the country palace of Francis I. Here the artist gives a standard mythological subject the tone of a bedroom farce. Venus and Mars appear to have dined, yet Cupid and the Graces bring new platters to the table. Venus lifts her drapery to reveal a distended belly and Mars is clearly startled. Is it his love's voracious appetite, or is she perhaps with child?
NGAHUM_180729_038.JPG: Rene Boyvin. after Luca Penni
Two Satyrs Giving Drink to Bacchus
NGAHUM_180729_044.JPG: NICCOLÒ NELLI
Italian, c. 1533 - c. 1575
The Land of Cockaigne
Rosenwald Collection, 1964
Cockaigne was a paradise described in texts from the thirteenth century onward, including Boccaccio's Decameron. In that magical land the pleasures of the senses are limitless. Niccolò Nelli, a prolific Venetian printmaker and publisher, rendered Cockaigne as a map filled with amusing vignettes of its wonders. Birds rain from the sky onto the table, fish fling themselves from the water. Mountains are made of every kind of spice and a lake is filled with Greek wine. Anyone caught working is imprisoned for a year. Vices, bad feelings, and of course Death are barred at the entrance. Moralizing irony is explicit in the prefatory tablet at right: "This geography is the creation of a certain Mr. Lie."
NGAHUM_180729_048.JPG: Annibale Carracci
Venus and a Satyr
NGAHUM_180729_052.JPG: Jusepe de Ribera,
The Drunken Silenus, 1628,
In Greek mythology, Silenus was the son of Pan, guardian of the young Bacchus and steady companion in his entourage. In Renaissance art he is usually depicted as an older human figure inebriated and mocked by satyrs, and thus a comical emblem of what happens when man surrenders reason to the senses. In René Boyvin's earlier interpretation of a similar subject, hanging on this wall, Bacchus is an idealized figure, impaired but imposing. A half-century later, with a naturalism as accurate as it is funny, Ribera presents Silenus as a sloppy drunk, plied by satyrs and ridiculed even by a donkey.
NGAHUM_180729_058.JPG: Sense of Humor
Caricature, Satire, and the Comical in Prints and Drawings from Leonardo to R. Crumb
Prints and drawings are particularly well suited for conveying and eliciting humor, understood as the quality that appeals to a sense of the ludicrous or absurdly incongruous. Although humor is fundamental to the human experience, its expression in painting and sculpture has been occasional and often restrained. If anything, the high ideals and dominant values in those media have served as a source of humor.
The graphic arts have been the constant vehicles for caricature, satire, and the comical. Private in essence, drawing has always favored uninhibited play of the imagination and the distorted naturalism of caricature. Prints, as multiple images intended for wide distribution, have served throughout their history to express institutional and social criticism. Too easily overlooked, humorous prints and drawings constitute a continuous, complex, and significant tradition.
Sense of Humor celebrates that tradition. Broadly chronological, the exhibition traces the major developments of the art form and includes the principal types, from the earliest caricatures of the Renaissance to the pungent satires of eighteenth-century England and the provocative comics associated with the counterculture of the late 1960s. It features such great masters of the genre as Pieter Bruegel the Elder, William Hogarth, Francisco de Goya, Honoré Daumier, and Roy Lichtenstein. The exhibition reveals both the thematic and aesthetic richness of the tradition. All of the works in the exhibition come from the collections of the National Gallery of Art, with many presented to the public for the first time.
NGAHUM_180729_060.JPG: GERMAN, 15TH CENTURY
Allegory of the Meeting of Pope Paul II and Emperor Frederick III
Rosenwald Collection, 1943
This is a very early political cartoon. At the time, the pope was gaining influence north of the Alps in the domain of the Holy Roman Empire. In 1468, after the pope excommunicated the King of Bohemia, Emperor Frederick went to Rome to negotiate. In an image replete with symbols and captions, the pope and emperor are shown as wrestlers. The pope, wearing the official triple tiara, has the upper hand. He keeps a firm foot upon the mast of a symbolic ship of state while weighing the paired emblems of the empire (the two-headed eagle) and its ally, France (the fleur-de-lis). The emperor, with crown, loses his balance as his scepter, labeled "Bohemie," breaks. Half a millennium later, the winner is clear.
NGAHUM_180729_065.JPG: The fifteenth century saw the emergence of many kinds of humorous images. Caricature, the inevitable counterpart to the Renaissance study of natural appearance, tended toward generic facial types in Italian works and broad exaggeration in northern ones. In Italy and at sophisticated European courts, parody drew from mythology and subjects of high art, while across the North it usually relied upon folktales and popular imagery. Whatever the source, excessive bodily function - sexual and excretory - and, above all, the consumption of alcohol, were favorite subjects. The stark, often violent contrast between high ideals -- political, religious, and ethical -- and the realities of daily life invited satire on hypocrisy and the human condition. The proverbial Ship of Fools, ironic utopias, and archetypal antiheroes recurred often in this universally dark humor. Satirical images of specific persons, events, and behaviors became common only toward the end of the period, to dominate in the following centuries.
NGAHUM_180729_072.JPG: FRENCH, 18TH CENTURY
Contempt for Worldly Vanities
Ailsa Mellon Bruce Fund, 2015
Popular in imagery but grand in scale and elevated by the technique of engraving, this print transforms the typical, somber vanitas (images of the sin of vanity) into a theatrical scene of dark humor. Death in the form of a skeleton drops coins, a mask symbolizing deceit, and a crown and scepter upon the floor, while at his feet lie the symbols of every other kind of power and material attachment. In the background a figure reclining on a tomb and a funerary monument recall the fate that awaits all. The skeleton's jaunty posture and grin speak to the irony rather than the tragedy of the human condition, with the comic mask on the building behind him a final comment.
NGAHUM_180729_076.JPG: PIETER VAN DER HEYDEN, AFTER HIERONYMUS Bosch
Flemish, active c. 1551 - 1572
Die Blau Schuyte (The Ship of Fools)
Rosenwald Collection, 1964
The Ship of Fools had become a popular metaphor for society and its hypocrisy in the fifteenth century. Its most elaborate and influential expression was Sebastian Brant's moralizing poem; a copy of the first Latin edition (1497) is displayed in the case nearby. Based upon a composition by Hieronymus Bosch, this Ship of Fools is a parody of the Christian church, commonly referred to as schip in Dutch. The vessel is inadequate, its pilot feeble, and his passengers dissolute. Their postures and dress suggest traffic between prostitutes and customers, with music-making a metaphor for sex and "Blau" (blue) connoting deceit.
NGAHUM_180729_088.JPG: SEBALD BEHAM
German, 1500 - 1550
Clown and Two Women Bathing
Rosenwald Collection, 1943
NGAHUM_180729_094.JPG: Pieter van der Heyden, after Pieter Bruegel the Elder,
The Ass at School, 1557
The inscription says, in essence, you can send an ass to school but it will not come back a horse.
NGAHUM_180729_100.JPG: HANS LIEFRINCK I, AFTER PIETER VAN DER HEYDEN, AFTER PIETER BRUEGEL THE ELDER
Flemish, probably 1518 - 1573
The Fat Kitchen
1563 or later
Rosenwald Collection, 1964
NGAHUM_180729_111.JPG: FLEMISH, 17TH CENTURY, AFTER PIETER VAN DER HEYDEN, AFTER PIETER BRUEGEL THE ELDER
The Thin Kitchen
Rosenwald Collection, 1964
NGAHUM_180729_114.JPG: ATTRIBUTED TO ALBRECHT DÜRER
German, 1471 - 1528
On the Uselessness of Books, in Sebastian Brant, Stultifera Navis (Ship of Fools)
bound volume with 117 woodcut illustrations
William B. O'Neal Fund, 2016
Written by the Nuremberg humanist Sebastian Brant, the Ship of Fools was one of the most successful books of the early modern period and remains a fundamental document of thought on the eve of the Reformation. Disguised as the voice of a fool, and thus beyond serious reproach, the author systematically satirizes every institution, pretension, and foible of society. At the opening of this chapter, a scholar leafs through the pages of a tome, his seriousness undermined by the fool's cap, duster, and myopia. The verse, in first person, explains that he loves books and delights in showing off his library but understands not a word"
NGAHUM_180729_126.JPG: GIOVANNI FRANCESCO COSTA
Venetian, 1711 - 1773
Scholars Consulting Books and a Globe
etching, hand-colored with watercolor and gouache
New Century Fund, 2014
This is one of a series of anamorphoses - distorted images that are intelligible only when seen reflected in a cylindrical mirror. An architect and leading scenographer in mid-eighteenth-century Venice, Costa pursued related theoretical interests, publishing a treatise on perspective. The etchings in this series represent a playful application of that study. Here two old men are stooped over tomes, one a book of geometric figures, with the drawing instruments beside it - a pun on the act of creating and viewing such images.
NGAHUM_180729_150.JPG: LUDOVICO MATTIOLI, AFTER GIUSEPPE MARIA CRESPI
Italian, 1662 – 1747
Bertoldino Whipping Himself to Drive Away Flies, in Giulio Cesare Croce, Bertoldo con Bertoldino e Cacasenno in ottava rima
volume in original binding with twenty full-page etchings and fifteen etched tailpieces
William B. O'Neal Fund, 2017
In Giulio Cesare Croce's retelling of the story of Marcolfus and King Solomon - compare Hopfer's etching on the adjacent wall - the coarse but cunning peasant is named Bertoldo, while his antagonist and eventual admirer is Alboino; king of Verona. This handsomely illustrated edition of the novel-in-verse is partly devoted to the comical misadventures of Bertoldo's son, Bertoldino, who possesses none of his father's common sense. In this episode, he beats himself with canes to drive away flies. Hearing this, the text continues, the king sends medicine to ease his pain, but Bertoldino swallows rather than applies it and becomes very sick. The moral ("allegoria") of the story? A remedy must be taken properly, lest the cure become worse than the disease.
NGAHUM_180729_159.JPG: REMBRANDT VAN RIJN
Self-Portrait in a Cap: Laughing
Rosenwald Collection, 1943
NGAHUM_180729_164.JPG: PIETER VAN DER HEYDEN, AFTER PIETER BRUEGEL THE ELDER
Flemish, active c. 1551 - 1572
The Wedding of Mopsus and Nisa
Ailsa Mellon Bruce Fund, 1972
This is perhaps the most famous of Bruegel's designs for engravings. The story descends from a noble source, Virgil's Eighth Eclogue, in which the gentle shepherd Damon tragically loses his true love, Nisa, to a rival, Mopsus. Here the story is transformed into the rude burlesque of a contemporary carnival. An exuberant Mopsus takes the hand of his bride, Nisa, and leads her from their makeshift wedding chamber. By contrast, the castle in the background emphasizes their low standing. Mopsus appears unaware or unconcerned with signs of his bride's promiscuity: disheveled costume, the sieve on her head, broken eggshells on the ground. Virgil returns in the quotation to sound a moralizing note: "Mopsus and Nisa marry, which we lovers hope not to do."
NGAHUM_180729_168.JPG: CORNELIS DUSART
The Merry Shoemaker
Gift of Ruth B. Benedict, 1984
NGAHUM_180729_173.JPG: CORYN BOEL, AFTER DAVID TENIERS THE YOUNGER
Flemish, 1620 - 1668
The Monkeys' Barber Shop
Gift of Ruth B. Benedict, 1994
NGAHUM_180729_180.JPG: CORNELIS DUSART
Dutch, 1660 - 1704
Cereris Bacchique Amicus (A Friend of Ceres and Bacchus)
Ailsa Mellon Bruce Fund, 1996
NGAHUM_180729_187.JPG: ROMEYN DE HOOGHE
Dutch, 1645 – 1708
No Monarchy, No Popery
Ailsa Mellon Bruce Fund, 2003
De Hooghe created this minutely detailed and exquisitely drawn political cartoon as propaganda for William of Orange (1650-1702), a Protestant and de facto ruler of the Netherlands. It depicts the principal events in his defeat of James II of England, an ally of the French and a proponent of Catholicism. In the central scene, James has fled into exile and is received by Louis XIV of France. Above, a bust of the victorious William III is flanked by personifications of Justice and Vengeance.
NGAHUM_180729_198.JPG: JACQUES CALLOT
French, 1592 – 1635
Frontispiece and three plates from the Varie Figure Gobbi (Various Hunchback Figures)
etching and engraving
R. L. Baumfeld Collection, 1969
Various kinds of humor emerge from the art of Jacques Callot. His drawings include caricatures of fantastic imagination and graphic flourish, like the
one on the right. In several series of etchings, courtly figures of sophisticated costume and stylized behavior are rendered with subtle exaggeration and a detectable irony. In others, everyday, lowly, and even grotesque types are dignified through elegant design and refined technique. The Gobbi, a series of twenty plates plus frontispiece, is the most striking example. Rather than "hunchbacks" gobbi were troupes of dwarfs that performed in festivals of the period. If amusing then, their condition and place in society today elicit only concern.
NGAHUM_180729_220.JPG: PIER LEONE GHEZZI
Roman, 1674 - 1755
Signore Sebastiano Conca, Pittore Napoletano (Signore Sebastiano Conca, Neapolitan Painter)
pen and ink over chalk
Ailsa Mellon Bruce Fund, 1975
NGAHUM_180729_226.JPG: GIUSEPPE MARIA MITELLI
Italian, 1634 – 1718
A Caricature with Ball Players
pen and ink
Gift of Benjamin and Lillian Hertzberg, 2004
NGAHUM_180729_233.JPG: CARLO MARCHIONNI
Roman, 1702 – 1786
Caricature of a Peasant with a Broad Hat
pen and ink with wash
Ailsa Mellon Bruce Fund, 2017
NGAHUM_180729_238.JPG: The Eighteenth and Nineteenth Centuries
The eighteenth and nineteenth centuries marked a number of important shifts in comic art. For the first time, major artists dedicated considerable effort and even their entire careers to the genre, which took on an increasingly contemporary focus. In France artists first concentrated on middle-class customs before shifting their attention to broader social concerns in the nineteenth century. In Britain this transition was rooted in the prints of William Hogarth. Although Hogarth himself held caricature in low regard, later generations of British artists such as James Gillray did not hesitate to use it, creating some of the most bitingly personal political satire ever made and anticipating the political cartoons of our own time. In Spain Francisco de Goya was inspired in part by British satirists but his dark glimpses into societal ills and the human soul reflect a more romantic sensibility.
During the nineteenth century the development of lithography meant that artists' designs could be reproduced quickly and inexpensively, allowing almost immediate commentary on current events. Where censorship prevented direct attacks on public figures such as the unpopular King Louis-Philippe of France (ruled 1830-1848), artists became adept at more nuanced criticism. Honoré Daumier, once imprisoned for a savage depiction of the king, attacked him indirectly by mocking French society.
NGAHUM_180729_241.JPG: Francisco de Goya
Al Conde Palatino
NGAHUM_180729_247.JPG: Francesco de Goya
NGAHUM_180729_255.JPG: Francisco de Goya,
Ya van desplumados (There They Go Plucked), 1797/1798
Like many of the prints from Los Caprichos (caprices), this image relies in part on a pun: the Spanish word desplumar, "to pluck," has the same connotations that "to fleece" has in English. These prostitutes have finished fleecing their customers and are shooing them out of the way in anticipation of new clients. Their baldness, a further play on desplumar, may also mean they are suffering from syphilis, which was associated with hair loss.
NGAHUM_180729_261.JPG: WILLIAM HOGARTH
British, 1697 – 1764
Simon Lord Lovat
Rosenwald Collection, 1943
Lord Lovat was a Scottish clan chief who switched allegiances multiple times throughout his life, fighting both for and against the Hanoverian kings who ruled Britain during Hogarth's time. Lovat was later convicted and sentenced to death for participating in a Jacobite rebellion against the king. Crowds gathered for his public execution in such numbers that an overloaded viewing platform collapsed, killing dozens. When Lovat was informed of the incident just before his death, he replied, "The more the mischief, the better the sport" Lovat's sly expression and tiny hooded eyes convey his dastardly character, while his features remain plausible and stop short of outright caricature. Lovat's notoriety contributed to the etching's popularity: although presses ran night and day, they were unable to meet the insatiable demand for the print.
NGAHUM_180729_266.JPG: William Hogarth, Strolling Actresses Dressing in a Barn, 1738
The playbill in the lower left reveals that the troupe is holding its last performance before a new law takes effect banning unlicensed theater. Much of the humor here derives from contrasts between the actresses' roles as Roman goddesses and the earthy realities of their lives. The central figure, playing the chaste goddess Diana, strikes a pose reminiscent of classical sculptures depicting Diana as a huntress. Here the lack of bow and arrow renders the gesture meaningless and the actress uses one hand to hitch up her shift to her thighs. Contemporary associations of actresses with prostitution would have added to the irony of her role. All around Diana humble props and activities strip away the illusions of the stage: in the lower right, for example, Juno practices her lines, her book resting on a makeshift noisemaker, while another goddess mends her stocking.
NGAHUM_180729_288.JPG: Francisco de Goya
And So Was His Grandfather in Los Caprichos
NGAHUM_180729_294.JPG: Johann Jacob Schubler
Mezzetin "Paints" a Portrait of Cupid by Cutting the Canvas to Reveal Harlequin
NGAHUM_180729_299.JPG: Johann Jacob Schubler
Mezzetin and Harlequin Use the Picture Frame to Catch Pantaloon and Pierrot
NGAHUM_180729_309.JPG: Thomas Rowlandson
Doctor Syntax Tumbling Into the Water in William Combe, The Tour of Doctor Syntax in Search of the Picturesque: A Poem, vol 1
NGAHUM_180729_316.JPG: WILLIAM HOGARTH
British, 1697 – 1764
Characters and Caricaturas
Rosenwald Collection, 1944
In this etching Hogarth establishes the difference between the comic history painter and the caricaturist and places himself firmly in the former category. The comic history painter expresses character through plausible depictions of the human face while the caricaturist exaggerates features to the point of distortion. The inscription refers to a passage in Joseph Andrews, a novel by Hogarth's friend Henry Fielding, in which the author praises the comic painter for taking on the more difficult task: "It is much easier... to paint a Man with a Nose, or any other Feature of a preposterous Size, or to expose him in some absurd or monstrous Attitude, than to express the Affections of Men" The two laughing heads facing one another in the lower center may represent Fielding and Hogarth, but most of the heads in the upper portion are intended to demonstrate the variety of expressions and facial types within the comic painter's range.
NGAHUM_180729_329.JPG: James Gillray,
Wierd-Sisters; Ministers of Darkness; Minions of the Moon, 1791
This parody of Henry Fuseli's painting, Weird Sisters (misspelled "Wierd" in the print), alludes to the bout of madness suffered by King George III (1738 – 1820). He appears as the dark and waning face of the moon, while his wife, Queen Charlotte, is shown on the bright and waxing side. Although Fuseli's painting depicts the three witches from Macbeth, Gillray transformed the figures into three politicians -- identified in this impression by an inscription in Gillray's own hand -- who watch anxiously to see whether the king's health will return. Their gestures and tense expressions betray their fear that the king will be declared unfit to rule and the Prince of Wales, their opponent, will replace him.
NGAHUM_180729_339.JPG: George Cruikshank
"Taking the Air" in Hyde Park (verso)
NGAHUM_180729_343.JPG: George Cruikshank
"Crinolina" -- and the Consequences (recto)
NGAHUM_180729_349.JPG: Paul Gavarni
Gulliver Awed by Three Giant Beggars in the Land of Brobdingnag
NGAHUM_180729_354.JPG: Honore Daumier
Actor Posing in Front of a Mirror
NGAHUM_180729_361.JPG: Honore Daumier
A Quarter of an Hour after His Death, He Was Still Alive
NGAHUM_180729_373.JPG: French, 19th Century
Provincials Visiting the Curiosities of Paris
NGAHUM_180729_377.JPG: French, 19th century
Entrance to the Museum
NGAHUM_180729_386.JPG: Honore Daumier
On the Railroad: A Pleasant Neighbor
NGAHUM_180729_399.JPG: Honore Daumier
Landscape Artists at Work
NGAHUM_180729_403.JPG: Honore Daumier
The Legislative Belly
NGAHUM_180729_416.JPG: Jean Honore Fragonard
NGAHUM_180729_428.JPG: NICOLAS DELAUNAY, AFTER PIERRE-ANTOINE BAUDOUIN
French, 1739 - 1792
The Empty Quiver
etching and engraving
Widener Collection, 1942
As during earlier centuries, bawdy humor remained popular throughout
the eighteenth century. This pair of lovers has apparently just left the bed,
where the exhausted young man, like Cupid above him, has used up all
NGAHUM_180729_433.JPG: Eugene-Hippolyte Forest
The Devil's Artillery
NGAHUM_180729_443.JPG: Louis-Leopold Boilly
The Picture Enthusiasts
NGAHUM_180729_453.JPG: Honore Daumier
Lower the Curtain, the Farce is Over
NGAHUM_180729_462.JPG: British, 18th century
The Bum Shop
NGAHUM_180729_465.JPG: James Gillray
NGAHUM_180729_477.JPG: James Gillray
Midas, Transmuting All into Paper
NGAHUM_180729_492.JPG: George Cruikshank
Anticipated Effects of the Tailors' "Strike"
NGAHUM_180729_502.JPG: Thomas Rowlandson
A Soldier's Widow
NGAHUM_180729_506.JPG: George Cruikshank
Very Unpleasant weather
NGAHUM_180729_521.JPG: The Twentieth Century
NGAHUM_180729_524.JPG: Alexander Calder,
The Dance, 1944
NGAHUM_180729_530.JPG: Saul Steinberg
NGAHUM_180729_551.JPG: Rupert Garcia
No More O' This Shit
NGAHUM_180729_557.JPG: Ray Johnson
Cervix Dollar Bill
NGAHUM_180729_568.JPG: Andy Warhol
NGAHUM_180729_573.JPG: Richard Hamilton,
The critic laughs, 1968
Pop artist Richard Hamilton's interest in household appliances takes a biting comedic turn in The critic laughs. This glossy print plays on a hand-size sculpture by Jasper Johns, The Critic Smiles (1959), in which four teeth replace the bristles of a toothbrush. ("A smile involves baring the teeth," Johns noted.) Hamilton brings the "smiling" critic into the electric age by showing a set of dentures mounted on a Braun toothbrush, suggesting that the laughing critic is, in fact, toothless.
NGAHUM_180729_582.JPG: Roger Brown,
The Jim and Tammy Show, 1987
Jim and Tammy Faye Bakker were televangelist superstars who rose to fame in the 1970s. By 1987, however, when Chicago artist Roger Brown created this image, their evangelical empire was crumbling amid sex and embezzlement scandals. Positioning the Bakkers on what appears to be a theater or television stage, Brown conveys the message that the coiffed and makeup-caked couple had become the stars of a personal, less-than-godly soap opera.
NGAHUM_180729_590.JPG: Agnes Denes
Map Projections: The Hot Dog
NGAHUM_180729_600.JPG: Guerrilla Girls
Dearest Art Collector
NGAHUM_180729_610.JPG: Jim Nutt
Cover of Hairy Who (cat-a-log)
NGAHUM_180729_615.JPG: The Hairy Who
NGAHUM_180729_618.JPG: Rick Griffin
Cover of Zap, no. 3
NGAHUM_180729_623.JPG: Robert Crumb
Zap, no. 0
NGAHUM_180729_630.JPG: Robert Crumb,
Zap, no. 1, 1968
NGAHUM_180729_639.JPG: Robert Crumb
Cover of Zap, no. 2
NGAHUM_180729_643.JPG: Gilbert Shelton
Cover of Zap, no. 6
NGAHUM_180729_654.JPG: Philip Hanson
False Image Decal
NGAHUM_180729_658.JPG: Christina Ramberg
False Image Decal
NGAHUM_180729_662.JPG: Roger Brown
False Image Decal
NGAHUM_180729_670.JPG: Art Spiegelman
Lead Pipe Sunday #2 Derby Dugan (verso)
NGAHUM_180729_688.JPG: Winsor McCay
Little Nemo in Slumberland: Climbing the Great North Pole
NGAHUM_180729_746.JPG: George Herriman
Ah-h, She Sails Like an Angel
NGAHUM_180729_778.JPG: George Bellows
NGAHUM_180729_784.JPG: Mabel Dwight
NGAHUM_180729_802.JPG: Roy Lichtenstein
Reflections on The Scream
NGAHUM_180729_808.JPG: Guerrilla Girls,
The Advantages of Being a Woman Artist, 1988
NGAHUM_180729_815.JPG: Red Grooms
Picasso Goes to Heaven
NGAHUM_180729_888.JPG: Hans Haacke
NGAHUM_180729_896.JPG: Karl Wirsum
Wake Up Yer Scalp with Chicago!
AAA "Gem": AAA considers this location to be a "must see" point of interest. To see pictures of other areas that AAA considers to be Gems, click here.
Bigger photos? To save server space, the full-sized versions of these images have either not been loaded to the server or have been removed from the server. (Only some pages are loaded with full-sized images and those usually get removed after three months.)
I still have them though. If you want me to email them to you, please send an email to email@example.com
and I can email them to you, or, depending on the number of images, just repost the page again will the full-sized images.
Connection Not Secure messages? Those warnings you get from your browser about this site not having secure connections worry some people. This means this site does not have SSL installed (the link is http:, not https:). That's bad if you're entering credit card numbers, passwords, or other personal information. But this site doesn't collect any personal information so SSL is not necessary. Life's good!