BGuthrie Photos: DC -- Natl Gallery of Art -- West Wing -- Exhibit: Sense of Humor

DC -- Natl Gallery of Art -- West Wing -- Exhibit: Sense of Humor:

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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. "[1] ") are described as follows:
1. NGAHUM_180729_009.JPG: Francesco Melzi, after Leonardo da Vinci Two Grotesque Heads 1510s 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.
2. NGAHUM_180729_021.JPG: Jusepe de Ribera Head of a Man early 1620s
3. NGAHUM_180729_028.JPG: Pier Francesco Mola Caricature with Mola Protecting Himself from a Man Holding a Viper
4. NGAHUM_180729_032.JPG: LÉON DAVENT, AFTER LUCA PENNI French, active 1540 - 1556 Venus and Mars Served by Cupid and the Three Graces C. 1547 etching 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?
5. NGAHUM_180729_038.JPG: Rene Boyvin. after Luca Penni Two Satyrs Giving Drink to Bacchus before 1569
6. NGAHUM_180729_044.JPG: NICCOLÒ NELLI Italian, c. 1533 - c. 1575 The Land of Cockaigne 1564 etching 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."
7. NGAHUM_180729_048.JPG: Annibale Carracci Venus and a Satyr 1592
8. 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.
9. 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.
10. NGAHUM_180729_060.JPG: GERMAN, 15TH CENTURY Allegory of the Meeting of Pope Paul II and Emperor Frederick III C. 1470 hand-colored woodcut 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.
11. 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.
12. NGAHUM_180729_072.JPG: FRENCH, 18TH CENTURY Contempt for Worldly Vanities 1700/1720 engraving 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.
13. NGAHUM_180729_076.JPG: PIETER VAN DER HEYDEN, AFTER HIERONYMUS Bosch Flemish, active c. 1551 - 1572 Die Blau Schuyte (The Ship of Fools) 1559 engraving 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.
14. NGAHUM_180729_081.JPG: SEBALD BEHAM German, 1500 - 1550 Peasants behind the Hedge 1546/1547 engraving Rosenwald Collection, 1963
15. NGAHUM_180729_088.JPG: SEBALD BEHAM German, 1500 - 1550 Clown and Two Women Bathing 1541 engraving Rosenwald Collection, 1943
16. 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.
17. 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 engraving Rosenwald Collection, 1964
18. NGAHUM_180729_111.JPG: FLEMISH, 17TH CENTURY, AFTER PIETER VAN DER HEYDEN, AFTER PIETER BRUEGEL THE ELDER The Thin Kitchen 1610/1630 engraving Rosenwald Collection, 1964
19. NGAHUM_180729_114.JPG: ATTRIBUTED TO ALBRECHT DÜRER German, 1471 - 1528 On the Uselessness of Books, in Sebastian Brant, Stultifera Navis (Ship of Fools) (Basel, 1497) 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"
20. NGAHUM_180729_126.JPG: GIOVANNI FRANCESCO COSTA Venetian, 1711 - 1773 Scholars Consulting Books and a Globe C. 1747 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.
21. 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 (Bologna, 1736) 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.
22. NGAHUM_180729_159.JPG: REMBRANDT VAN RIJN Dutch, 1606-1669 Self-Portrait in a Cap: Laughing 1630 etching Rosenwald Collection, 1943
23. NGAHUM_180729_164.JPG: PIETER VAN DER HEYDEN, AFTER PIETER BRUEGEL THE ELDER Flemish, active c. 1551 - 1572 The Wedding of Mopsus and Nisa 1570 engraving 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."
24. NGAHUM_180729_168.JPG: CORNELIS DUSART Dutch, 1660-1704 The Merry Shoemaker 1695 etching Gift of Ruth B. Benedict, 1984
25. NGAHUM_180729_173.JPG: CORYN BOEL, AFTER DAVID TENIERS THE YOUNGER Flemish, 1620 - 1668 The Monkeys' Barber Shop mid-17th century engraving Gift of Ruth B. Benedict, 1994
26. NGAHUM_180729_180.JPG: CORNELIS DUSART Dutch, 1660 - 1704 Cereris Bacchique Amicus (A Friend of Ceres and Bacchus) 1695 mezzotint Ailsa Mellon Bruce Fund, 1996
27. NGAHUM_180729_187.JPG: ROMEYN DE HOOGHE Dutch, 1645 – 1708 No Monarchy, No Popery C. 1690 etching 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.
28. NGAHUM_180729_198.JPG: JACQUES CALLOT French, 1592 – 1635 Frontispiece and three plates from the Varie Figure Gobbi (Various Hunchback Figures) C. 1622 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.
29. NGAHUM_180729_220.JPG: PIER LEONE GHEZZI Roman, 1674 - 1755 Signore Sebastiano Conca, Pittore Napoletano (Signore Sebastiano Conca, Neapolitan Painter) 1734/1755 pen and ink over chalk Ailsa Mellon Bruce Fund, 1975
30. 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
31. NGAHUM_180729_233.JPG: CARLO MARCHIONNI Roman, 1702 – 1786 Caricature of a Peasant with a Broad Hat C. 1750/1770 pen and ink with wash Ailsa Mellon Bruce Fund, 2017
32. 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.
33. NGAHUM_180729_241.JPG: Francisco de Goya Al Conde Palatino
34. NGAHUM_180729_247.JPG: Francesco de Goya Family Background
35. 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.
36. NGAHUM_180729_261.JPG: WILLIAM HOGARTH British, 1697 – 1764 Simon Lord Lovat 1746 etching 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.
37. 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.
38. NGAHUM_180729_288.JPG: Francisco de Goya And So Was His Grandfather in Los Caprichos
39. NGAHUM_180729_294.JPG: Johann Jacob Schubler Mezzetin "Paints" a Portrait of Cupid by Cutting the Canvas to Reveal Harlequin
40. NGAHUM_180729_299.JPG: Johann Jacob Schubler Mezzetin and Harlequin Use the Picture Frame to Catch Pantaloon and Pierrot
41. 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
42. NGAHUM_180729_316.JPG: WILLIAM HOGARTH British, 1697 – 1764 Characters and Caricaturas 1743 etching 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.
43. 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.
44. NGAHUM_180729_339.JPG: George Cruikshank "Taking the Air" in Hyde Park (verso)
45. NGAHUM_180729_343.JPG: George Cruikshank "Crinolina" -- and the Consequences (recto)
46. NGAHUM_180729_349.JPG: Paul Gavarni Gulliver Awed by Three Giant Beggars in the Land of Brobdingnag
47. NGAHUM_180729_354.JPG: Honore Daumier Actor Posing in Front of a Mirror
48. NGAHUM_180729_361.JPG: Honore Daumier A Quarter of an Hour after His Death, He Was Still Alive
49. NGAHUM_180729_373.JPG: French, 19th Century Provincials Visiting the Curiosities of Paris
50. NGAHUM_180729_377.JPG: French, 19th century Entrance to the Museum
51. NGAHUM_180729_386.JPG: Honore Daumier On the Railroad: A Pleasant Neighbor
52. NGAHUM_180729_399.JPG: Honore Daumier Landscape Artists at Work
53. NGAHUM_180729_403.JPG: Honore Daumier The Legislative Belly
54. NGAHUM_180729_416.JPG: Jean Honore Fragonard The Armoire
55. NGAHUM_180729_428.JPG: NICOLAS DELAUNAY, AFTER PIERRE-ANTOINE BAUDOUIN French, 1739 - 1792 The Empty Quiver 1775 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 his ammunition.
56. NGAHUM_180729_433.JPG: Eugene-Hippolyte Forest The Devil's Artillery
57. NGAHUM_180729_443.JPG: Louis-Leopold Boilly The Picture Enthusiasts
58. NGAHUM_180729_453.JPG: Honore Daumier Lower the Curtain, the Farce is Over
59. NGAHUM_180729_462.JPG: British, 18th century The Bum Shop
60. NGAHUM_180729_465.JPG: James Gillray Titianus Rdivivus
61. NGAHUM_180729_477.JPG: James Gillray Midas, Transmuting All into Paper
62. NGAHUM_180729_492.JPG: George Cruikshank Anticipated Effects of the Tailors' "Strike"
63. NGAHUM_180729_502.JPG: Thomas Rowlandson A Soldier's Widow
64. NGAHUM_180729_506.JPG: George Cruikshank Very Unpleasant weather
65. NGAHUM_180729_521.JPG: The Twentieth Century
66. NGAHUM_180729_524.JPG: Alexander Calder, The Dance, 1944
67. NGAHUM_180729_530.JPG: Saul Steinberg Parade 2
68. NGAHUM_180729_551.JPG: Rupert Garcia No More O' This Shit
69. NGAHUM_180729_557.JPG: Ray Johnson Cervix Dollar Bill
70. NGAHUM_180729_568.JPG: Andy Warhol Vote McGovern
71. 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.
72. 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.
73. NGAHUM_180729_590.JPG: Agnes Denes Map Projections: The Hot Dog
74. NGAHUM_180729_600.JPG: Guerrilla Girls Dearest Art Collector
75. NGAHUM_180729_610.JPG: Jim Nutt Cover of Hairy Who (cat-a-log)
76. NGAHUM_180729_615.JPG: The Hairy Who
77. NGAHUM_180729_618.JPG: Rick Griffin Cover of Zap, no. 3
78. NGAHUM_180729_623.JPG: Robert Crumb Zap, no. 0 1968
79. NGAHUM_180729_630.JPG: Robert Crumb, Zap, no. 1, 1968
80. NGAHUM_180729_639.JPG: Robert Crumb Cover of Zap, no. 2
81. NGAHUM_180729_643.JPG: Gilbert Shelton Cover of Zap, no. 6 1973
82. NGAHUM_180729_650.JPG: Eleanor Dube False Image Decal
83. NGAHUM_180729_654.JPG: Philip Hanson False Image Decal
84. NGAHUM_180729_658.JPG: Christina Ramberg False Image Decal
85. NGAHUM_180729_662.JPG: Roger Brown False Image Decal
86. NGAHUM_180729_670.JPG: Art Spiegelman Lead Pipe Sunday #2 Derby Dugan (verso)
87. NGAHUM_180729_688.JPG: Winsor McCay Little Nemo in Slumberland: Climbing the Great North Pole 1907
88. NGAHUM_180729_746.JPG: George Herriman Ah-h, She Sails Like an Angel 1921
89. NGAHUM_180729_778.JPG: George Bellows The Shower-Bath 1917
90. NGAHUM_180729_784.JPG: Mabel Dwight Museum Guard 1936
91. NGAHUM_180729_802.JPG: Roy Lichtenstein Reflections on The Scream 1990
92. NGAHUM_180729_808.JPG: Guerrilla Girls, The Advantages of Being a Woman Artist, 1988
93. NGAHUM_180729_815.JPG: Red Grooms Picasso Goes to Heaven 1976
94. NGAHUM_180729_888.JPG: Hans Haacke Tiffany Cares 1979
95. NGAHUM_180729_896.JPG: Karl Wirsum Wake Up Yer Scalp with Chicago! 1970
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