Collecting Air Miles While You See Your Favourite Picasso

I’ll never forget the first time I realised I truly loved art, it was the time I decided to go to a particular country purely to see one particular piece of art work in one particular art gallery.  Yes, it was a year ago that I decided to go to Madrid to see Picasso’s Guernica.  The incident was incredibly eye opening and also culminated in the start of this blog- so lets just say it was more than pretty momental.  Travelling and art are two of my greatest passions, so it makes sense to combine the pair. Whilst I’m eternally content with the unique and vast art scene in London, I am always searching for my next European adventure. I’ve comprised a list below of my top five modern art works to visit in their counterpart European City.  Who needs an excuse to go on holiday, when you can go see art?

Rachel’s Top 5 European Modern Art Pilgrimages:

*Spain: Madrid

AKA Picasso, Paella & Parraletta

WHAT? Pablo Picasso: Guernica (1937)

WHERE? The Reina Sofia, Madrid (www.museoreinasofia.es/en)

AND? In 1937, Picasso, shaken and shocked by the terror of the bombings of the Spanish town in the Basque region created Guernica to be shown at the Spanish Pavilion at the International Exhibition in Paris. The painting, as a plea against the general horrors evoked by the Spanish Civil War, quickly came to stand as a general emblem for the Spanish cause. The black and white newspaper finish to the picture can be seen as a homage to Picasso’s first reading about the bombing through the French newspaper, L’Humanité. The allusion to this devastation is rendered powerful in the painting with the twisted broken bodies, the fallen soldiers, children and animals, the reference to ‘bombilla’, or bomb, and the daggers. All those atrocities are made more unimaginably poignant by its very size, 3.5 metres tall, by 7.8 metres wide. This piece is as powerful as it is emotive, be prepared to be shocked, and to spend a lot of time hanging around it.

ALSO ENJOY? When in Spain, hot weather, sangria, tapas and free entry to the other two major museums that complete the ‘golden triangle’ in Madrid, the Prado and the Thyssen-Bornemisza Museum

PRICE? A LOT cheaper than London (A weekend for two, around £300 for flights and accommodation)

 

**The Netherlands: Amsterdam

AKA Van Gogh, Vondel Park & Viagra

WHAT? Van Gogh: Self Portrait (1887)

WHERE? The Rijksmuseum, Amsterdam (https://www.rijksmuseum.nl/en)

AND? Vincent Van Gogh was a post-Impressionist painter of Dutch origin whose works, notable for its rough beauty, emotional honesty and bold colour, had a far-reaching influence on 20th-century art.  Ever wondered why he did so many self-portraits? He couldn’t afford to pay a model! After being told by his brother, Theo, about the new revolutionary, colourful style of French painting, Impressionism, Van Gogh moved to Paris in 1886. A year later he was to complete this piece, using rhythmic brushstrokes in striking colours.   Here, he portrays himself as a well-styled Parisian, and thus his exposure to Impressionism becomes incredibly clear, highlighted further by his interest in colour and dramatic brushwork.

ALSO ENJOY? Cycles around the city, lounging in parks and plenty of smokes and pancakes. While in Amsterdam, also go to the Van Gogh and the Stedelijk Museum

PRICE? Cheaper than London (A weekend for two, with flights and accommodation, £350)

 

***France: Paris

AKA Delaunay, Disco’s & Disaproving Looks

WHAT? Robert Delaunay: L’Équipe de Cardiff (1912)

WHERE? The Museum of Modern Art- The City of Paris  (http://www.mam.paris.fr/en)

AND? In 1912 Delaunay began the first of several versions of The Cardiff Team. The motif derived from a newspaper photograph of a Cardiff-Paris rugby match, which showed players jumping for the ball. Delaunay added Paris’s famous Ferris wheel and an Astra billboard, which advertises an aircraft construction company. The letters on the hoarding to the right derive from the artist’s own name. The Eiffel Tower features in many of Delaunay’s paintings, as the artist regarded it as the archetypal symbol of modernity. It is here seen emerging above the fragment of his name.  The painting is bright and fun, it points to futurism via movement, modernity and dynamism.

ALSO ENJOY? Fine dining and even finer wine in the City of Love.  While you’re here, why not also check out the Pompidou, the Louvre at the Orsay?

PRICE? On a par with London (Weekend for two, with Eurostar and hotel, £450)

 

****Norway: Oslo

AKA Munch, moodiness & melodies

WHAT? Edvard Munch: The Scream (1893)

WHERE? The National Museum of Art, Architecture & Design, Oslo (www.nasjonalmuseet.no/en/)

AND? Scream was painted in 1893 during a transitional period in art history, following the end of the photographic and before the Expressionists and other artists of the early twentieth century made it a trend to put a focus on the expression of their inner feelings and emotions through their art.  What makes Munch one of the most interesting artists to come out of modern art, is that he shows us a glimpse of his inner troubles and feelings of anxiety through his painting. He therefore puts more importance on personal meaning than on technical skill or “beauty,” a traditional goal of art.  It was painted the same year his sister was diagnosed with insanity, and It was painted using oil and pastel on cardboard. It is incredibly frightening and powerful.

ALSO ENJOY? Relax around the lakes, enjoy the breath-taking Opera House, and be prepared to fork out for a pint of beer! In terms of art, The Office for Contemporary Art and the Munch Museum, an entire museum dedicated to the artist himself, are essentials.

PRICE? MORE expensive than London! (Weekend for two with flights and hotel accommodation, £500)

 

*****Austria: Vienna

AKA Klimt, Kisses & The Konzerthaus

WHAT? Gustav Klimt: The Kiss (1908)

WHERE? The Austrian Gallery Belvedere, Vienna (www.belvedere.at/en)

AND?The painting is easily Klimt’s most famous work, and holds particular strength in the History of Art.  Completed in Vienna, where it still resides today, the painting depicts a couple kissing in a style that is both geometric but at the same time realistic.  This particular kiss occupied Klimt throughout his career and became the subject of numerous works.  There have been numerous attempts to identify the woman portrayed in The Kiss. Those mentioned have included Klimt’s life-long partner Emilie Flöge, but also Adele Bloch-Bauer. The subject’s well-proportioned facial features reveal a similarity to many of the women that Klimt portrayed, but ultimately they cannot be unequivocally attributed to a particular person.  Finally, what makes the technique of the work so unique, is its incorporation of a gold leaf on canvas, rather than simply a classic oil on canvas.

ALSO ENJOY? A Viking tour, some apple strudel and a visit the State Opera for a show.  Why not also visit the Museum of Modern art and the Museum of Fine Arts!

PRICE? Cheaper than London! (Weekend for two with flights and hotel accommodation, £400)

 

Musée d’Art Moderne de la Ville de Paris

I have been wanted to visit The Museum of Modern Art since the day I first arrived in Paris. Two months later, on a sunny afternoon, the girls and I finally made the pilgrimage to one of the best collections of 20^th and 21^st century art this side of the Pont d’Alma.

The Museum of Modern Art, best know as, La Musée d’Art Moderne de la Ville de Parisboasts one of the best locations in Paris, nestled in the 16^th arrondissement, along the Seine.  Over the years, the museum has become one of 14 City of Paris’ Museums, a group of museums that since January 2013, has become a public institution. The museum is free for everyone and is devoid of the pretentious aspects that we are often so accustomed to within modern art exhibitions.  In fact there is a real sense of freedom within the museum.  There are no rules regarding photography, noise or behaviour, and this encourages a sort of interaction which I belief is so crucial for spectators when engaging with art.  The space of the museum is incredible with the white walls, the open spaces and the natural light that comes through.

Alain Patrick

Daniel Spoerri

Nam June Paik

Albert Gleizes

The calibre of works on display in the museum’s permanent display is outstanding. There is a real mix between work by old masters such as Picasso and Di Chirico, and more contemporary artists.  While a chronologic approach to exhibition design is often frowned upon in terms of modern art, I believe that this element is so in fitting with what the museum represents.  We pass rooms featuring anti-art, and then two minutes later find ourselves stumbling past the room dedicated to Dadaism or Surrealism.  We also see a variety of work from artists such as Gleizes, Braque, Picabia, Di Chiricio, Rauschenberg, Klein, Giacometti, Fautrier , Roualt and Bellmer.

Di Chirico

Di Chirico

Fautrier

Bonnard

Picabia

None of these artists had as much impact on me as Robert Delaunay. Delaunay, along with his wife and fellow artist, Sonia, cofounded the art movement Orphism, well known for its fascination with geometric shapes and vivid colours. The selection of work by these artists on display here are vast and incredibly fitting with the museum’s focus on Paris as a City.  As we enter the room where works by these orphists are on display, we pass Delaunay’s Eiffel Tower (1911), and at the same time catch sight of the real Eiffel Tower, lurking just in front, through the window in the museum. It is pretty magical. But my favourite work of Delaunay’s has to be L’Equipe de Cardiff (the Cardiff rugby team) (1913).  I have been studying this piece for years, so being able to see it up close was incredible. The colours were as intense as the shapes were geometric, but nothing was more surprising than the very size of it!

The Museum of Modern art is one of those rare gems, that is sadly overlooked by tourists or locals who prefer to prioritise the Orsay or the Louvre.  For me, The Museum of Modern Art, almost rivals the Pompidou. That is a BIG statement, and one that I suggest you decipher for yourself!  It’s free, it’s interactive and it’s right in the heart of Paris. For art lovers, what is not to love?

L’Espace Dali, Sacre Coeur

Le Surrealisme, c’est moi! (Dali)

Located a few steps from the Sacre Coeur, The Espace Dalí, located in the charming artistic quarter of Montmartre, boasts the only permanent exhibition devoted to Salvador Dalí in France. The exhibition contains over 300 of Dalí’s original artworks, the majority forming sculptures and engravings. The image given to Salvador Dalí as one of the main faces of the Surrealist movement is strengthened by the exhibition. This is made with reference to his three dimensional realization of his surrealist paintings and sculptures such as Alice in Wonderland and Space Elephant. The true artistic creation of Dalí and the calibre of his work is revealed with pride to the spectator.

I thought I knew Salvador Dalí pretty well. I knew about the recurring objects that he placed in his paintings, and their apparent symbolisation. The melting clocks and their reference to Dalí’s frustration with the passing of time. The insects and their reference to the human genitalia. And of course, the crutch that appears in alot of his painting and sculptures. The crutch signifies his desire for support from those around him and also allude to his personal issues surrounding his impotence. Wow, there was certainly a lot more to discover about this fascinating artist.

How had I never heard of Dalí’s Mae West Lips Sofa, one of Dalí’s most renowned pieces? Even within the space of the exhibition it seemed so out of context, so tacky and sordid that I would never have assumed it to be one of Dalí’s creations. But the exhibition evokes in you a weird mentality that forces you to look at things in the way Dalí would have wanted them to be seen. It incorporates Dalí’s style not just in its curation, but also in the very essence of the museum. The exhibition is one of those rare gems, that act as a mirror, from artist to viewer.

This appeared to be an apparent theme throughout the exhibition. Looking at things in a new light, one that was so in tune with the Surrealist way of looking at the world. The same shook me with the Alice and Wonderland sculpture and paintings, which quickly became my favourite find in the museum. How had I not before seen the so obvious link between Surrealist thought and the magical journey of Alice in Wonderland? Alice escapes the everyday and enters a dream like state allowing her to fully tap into her subconscious. Alice couldn’t be more tuned in with Surrealism if she tried.

It was not just Alice that further deepened by love for Dalí. The melting clock sculptures also had a rather magical affect on me. The passing of time and the possibility to escape reality through dream is not only an explicit reference to Alice, as it is Surrealism and Dalí, it also hones personal sentiments and exploration. Seeing the melted clocks up close, as three dimensional objects is as overwhelming as it is exciting. This is exactly the power of sculpture, one who pertains the ability to confront and challenge our space in ways that paintings are simply not capable. A focus on Dalí’s sculpture presented a side of the artist that I was not familiar with. It showed the true power of Dalí and the ability of his work not only to influence artists and those in showbiz today, like Lady Gaga and her surrealist music image, but also the very personal nature and message to which Dalí appears to be so clearly working towards.

Don’t be afraid to confront what you see at the Espace Dalí . While the material on offer and the curation within the space cannot be faulted, it can be perhaps accused of painting an image of Dalí that is far too idealized. Dalí was an avant garde artist, living in Paris at a period of great artistic change and excitement. He was also part of the Surrealist art movement, known for its grandeur and philosophy. This combined with the eccentric personality Dalí was assumed to have, leave us with an artist that was renowned for his crazy hot and cold personality, that was full of sexual desire, frustration and insane energy and insecurity.

Whether you are an expert on Dalí, or simply a novice, the Espace Dalí, is well worth a visit. As a homage to one of the greatest artists of the twentieth century, the exhibition acts as a freeze frame capturing the essence of Dalí ‘s artistic practice. The Espace Dalí is open every day from 10am till 6pm. Tickets start at eleven euros fifty for adults, and a discounted rate for students and those under twenty six.

Yesterday, as part of our masters course, we were lucky enough to be taken on a tour of Rodin’s gardens by our professor, Peter Read. Situated amongst Ivalides and Ecole Militaire, the gardens are an idyllic three hectares in size and boast some of Rodin’s most famous sculptures such as The Thinker, The Kiss and The Gates of Hell. Unfortunately, on the day we visited, the museum was closed, but this was really of no consequence given the astounding beauty of the gardens. Rodin’s sculptures appear so content among the vast gardens, with the water fountains and the tall tree’s. This somehow serves to make his sculptures even more poignant, astounding, but at the same time, accessible.

There is something so powerful about sculpture. It evokes an immediate visual impact from spectators but also evolves over time. It thus boasts a status as an artwork that is both spacial and temporal. The sculpture of Auguste Rodin demands attention both in the iconic reputation of his work and its commitment to abstraction and moving forward, but also in the message that Rodin leaves us with.

Rodin (1840-1917) had, as any famous artist has or had, a great story to his work. The reputation he would go on to gain would not have been foreseen so clearly during his early life. Rodin was born to a life of rags. He was rejected three times by the famous art school in Paris, L’Ecole Des Beaux Arts, which out of frustration, led him to become an architectural plasterer. It was this course of path that really allowed the sculptor to develop and practice his technique. It wasn’t until he was thirty six years old that Rodin finally exhibited his first sculpture. He exhibited L’Age de Bronze in clay at the annual Salon in 1876. Yet The Age of Bronze, a 6ft clay sculpture modelled on a soldier, was to create scandal rather than success. Art at that time was supposed to idealize the human form and represent the canon of beauty that was biblical or mythical. Instead, The Age of Bronze too deeply referenced realism, and the idea of kinetic art.

For me, the real beauty about Rodin’s work is his ability to make art that moves. In The Age of Bronze, movement is represented in the thoughtful pose of the soldier and the upward lift of his hand. It is clear the Rodin was looking toward Michaelangelo’s Slave sculptures for inspiration. But why was this notion of movement so crucial to Rodin? Rodin was living and working during the Age of great progress. The Age of great progress can be seen as a renewal in faith in human progress and humanity that was reflected in a number of reforms. Primary education becoming compulsory under the third republic is one of many examples.

Yet this idea of a renewed sense of faith was unfortunately not tapped upon by critics of Rodin’s work who were quick to accuse The Age of Bronze of being made out of cast. It’s obvious difference from other sculptures at the Salon, was proof of it as a fraud. The only way that Rodin could respond to the critics, a move that would eventually silence and gain support, was to create his next sculpture.

Rodin’s John the Baptist Preaching sculpture in 1879 could never be accused of being a fraud. The two metre high sculpture encompassed a rough surface that allowed vitality and light to be added to the sculpture, elements that would not be captured so powerfully had it been given a smooth surface. This focus on the play of light as a key element was not particularly new, given that the Impressionists during the 1860’s were also divulging the energy and beauty that light gave to their work. John the Baptist Preaching would help Rodin to hone his personal style by incorporating a sense of earthy realism, variegated surface and a sort of raised feeling to his sculptures.

This was not the only iconic thing about his work. Rodin’s commitment to subjects that featured well known images and tales such as Dante’s Inferno, Balzac and of course, John the Baptist allowed a sense of immediate understanding and resonance amongst the public with regard to his sculptures. Yet, like any truly iconic artist, he was to break with the traditional to favour a more dynamic and daring energy.

The creation of The Kiss in 1887 in Chicago was no exception. The Kiss was based on Dante’s Inferno, the story of Paolo and Francesco, but its nature was deemed too outrageous. It was seen as too shocking and removed from the main exhibition, to a private room where spectators had to apply for special permissions to view it. The shocking nature of the sculpture is not apparent within the kiss itself, nor the intertwining of the nudes, but instead the concern is highlighted within the figure of the female who appears to pertain to an equal sexual desire and confidence to that of the male. At a time, when the control and power came from the male, the balance between the sexes was incredibly disturbing.

The work of Rodin’s assistant slash lover, Camille Claudel, is also at display in the Rodin museum, testimony I believe to the respect he had for those of the opposite sex. However, the unforeseen closure of the museum yesterday acted as a blessing in disguise. I was more than content with a wander around the gardens. Every sculpture beckons your attention and imagination to such an extent that we attempt to align with the mind of Rodin. The exploration leaves us pondering the immensity of sculptures such as the famous Thinker or the incredibly intricate and frightening Gates of Hell. The gardens are well worth a visit, and I plan on visiting again in the summer, alongside the house. If you are really into your sculptures and have plenty of time in Paris, plan on visiting the garden and the museum on separate occasions. With over 6000 sculptures and 8000 drawings, the experience is incredibly intense and overwhelming. You cannot leave Paris without seeing it!

In England, most town halls are used for council meetings or for the odd elderly bake sale. Not in Paris. It’s most famous town hall, L’Hotel de Ville in the Marais, finds itself transformed in a reflection of the city of lights by the famous photographer, Brassaï. Born in Hungary in 1899, Brassaï was one of the most famous contemporary photographers of all time, accumulating a great body of work that illustrated a real fascination with the City of Paris. He was to deal with all walks of life in Paris, from prostitutes to intellectuals, and in doing so would uncover a more mythical darker side of Paris, that he loved as much as he did its more famous affiliation.

In 1924 Brassaï moved to Paris and quite soon find himself being introduced to those like Desnos and Prévert and others responsible for the start of the Annees Folles, based in Montparnasse. In 1929, when he began his photography he had been introduced to the world of the Surrealists. This transformation of the real into the surreal and the focus on the unconscious that was advocated by Surrealism would be crucial for Brassaï’s earlier work. Here he sought to capture a side of Paris that was rarely shown, if not hated. He would wander around Paris by night using some of the night time light to capture photographs of prostitutes and workers and of bridges and graveyards. Although perhaps not recognised at the time, he would present a side to Paris that united the classic architecture of Paris, with the beauty of the fog, silhouettes and lights, while at the same time representing a moment in time, that was often forgotten in favour of beautiful day time scenes.

A few years later, in 1932, Brassaï began to focus on the Circus within his photography, that was inspired by a close relationship with Picasso, who had worked together previously and shared a love of the circus atmosphere. A tireless wanderer of night-time Paris, Brassaï also had an eye for the capital in daylight. For example, he offered an intensely personal view of the Jardin du Luxembourg and the banks of the Seine, which he strolled along in search of young lovers, fishermen, the homeless, or even dogs. He also took a keen interest in the elegant Rue de Rivoli crowd, bystanders in front of shops on the Grands Boulevards, and many others…

This exhibition runs until the 18th March, and boasts free entry. Be prepared to queue for at least an hour and a half. Despite this, the exhibition is well worth visiting, presenting a rather underrepresented and mysterious side of Paris.

Le Surréalisme et l’Objet

Le Centre Pompidou

In the two months since I last posted, I’ve been busy submitting essays and have made the big move to Paris. I am finally all settled into my lovely new apartment close to Pere Lachaise and am ready to explore all the art that this City has to offer. I hope I can take you on a journey from the more mainstream and tourist friendly museums such as the Louvre, the Musee d’Orsay and the Palais Tokyo, to the smaller more intimate galleries like La Maison Rouge and the Marian Goodman Gallery.

An exhibition whose arrival I have been anticipating since I first decided I was moving to Paris back last June is Le Surréalisme et l’objet, at the Centre Pompidou. I was pretty thrilled when it was announced that this exhibition was to form a trip as part of our University Schedule. For anyone that knows me, the Surrealist art movement, is without a shadow of a doubt my favourite art movement within the history of Modern Art. From Breton to Dali and to my main man Marcel Duchamp, anything slightly surreal from automatic drawing to Cadavre Equis really gets my creative juices flowing.  

Joan Miro- Tete Humaine (1931)

Hans Bellemer- Poupee (dolls series)

This exhibition did absolutely nothing to disappoint the high hopes I had placed on it. In fact, it pretty much encompassed everything I believe to be crucial to the Surrealist sentiment. Whilst we know that after World War two the Surrealist group had almost totally dismembered, we were perhaps not aware of its legacy on modern object art today. This is what the exhibition makes so apparent. While a strong focus on the work of Breton, Man Ray, Dali, Duchamp, Aragon and Éluard, there is also a focus on the work of more modern day Surrealist artists such as Paul McCarthy and Ed Ruscha. 

Paul McCarthy

Ed Ruscha

What was so crucial to the Surrealists was the desire to liberate oneself from rationality, allowing us to access our unconscious and reach a state of surreality, a higher reality. Reality and the dreamlike and rationality and the unconscious are valued equally so that we can reach our true state. This is why this exhibition was given a non-chronological curation. Favouring a chronological path way could be deemed to be too anti-surrealist and thus hypocritical to the very nature of the exhibition. The curators here have really understood how Breton and the other surrealists favoured the display of their work. This is further alluded to in the rooms dedicated to showing past Surrealist exhibitions, the 1942 First Papers in New York and the 1938 International Surrealist Exhibition, in Paris. These exhibitions were both curated by Marcel Duchamp and were fundamentally revolutionary given the bizarre off the wall curation and the art works on display. Please see my other blog posts for further analysis of Duchamp’s work for the Surrealists.

Breton- Objets Fonctionemments Symboliques (1931)

Man Ray- Champs Delicieux (1922)

Salvador Dali- Telephone Homard (aphrodisiaque) (1936)

Salvador Dali- Objets Surrealistes

What this exhibition has been criticised for is the lack of extra reading available to spectators. Whilst there are occasional screens projecting information, little is given away in the information cards that accompany the artworks. In fact, we have to wait until we reach the book shop located by the exit to the exhibition if we want to skim through the dictionary of Surrealist objects, the official guide to the exhibition. Stopping myself from buying it was incredibly challenging. However the lack of guide within the exhibition wasn’t a problem for me, as I felt totally in my element within the exhibition space. Even for those with little understanding of Surrealism, I believe the lack of information provided would only work in their favour. This goes back to the fundamental beliefs and aims of those rather mysterious Surrealists who gave little a way. Key to accessing the unconscious was the need to escape the constraint of rational thought and enter into this dream like state. Surely this is what this exhibition aims to do? Force the spectator into an environment where they are free to liberate their own unconscious, that has not been constrained by rational thought (a coherent and information proofed exhibition) ? It thus liberates the viewer allowing them to take on without knowing, the notion of what it is to be a Surrealist.

Joan Miro- Femme et Oiseau (1967)

Max Ernst- Moonman (1944)

The Surrealist exhibition runs at the Pompidou until the 3rd March.  Entry is around thirteen euro and also includes access to the Modern Art Museum located on the second floor.  It is well worth a visit to both, plus you can take really cool photos like this

The TATE allows Koons to spread his wings

Jeff Koons @ Brighton Pavilion

Jeff Koons is one of the world’s most important living artists, and what better way to showcase the provocative and playful nature of his work then within Brighton’s palace. It’s placement here as part of ARTIST ROOMS, is ironic in itself because of the powerful nature of consumer industries and culture and aesthetics of taste that is so crucial to Koons work. Included in the exhibition, is his infamous blown up objects, his kitsch objects and the incorporation of everyday items such as basketballs and vacuum-cleaners, representing series such as The New Equilibrium, Easyfun and Popeye.

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What makes Koons such an important artist today is the questions that he demands the spectator to consider when looking at his work. How is this art? That is exactly what Koons wants us to ask, because it allows us to question the clear distinctions between mass culture and high art, today’s pornography in art and the old masters representations of the classical nudes. Koons work is so poignant because it asks us to look at ourselves and society.

The Koon’s exhibition space is slightly too small and stuffy, but despite this, it empowers the spectator, through challenging the way we look at art and its meaning, and is thus entertaining and unforgettable. However one thing I am quick to criticise is the banning of cameras from the exhibition. This is something that is hypocritical to the child like space of the exhibition which teases us with its colourful and enchanting mirrors, and is something that I believe detriments Koons practice and belief as an artist, that art itself should be non exclusive and free of constraints. Despite this, Koons exhibition in Brighton involves a sort of magical journey that embraces our childhood, but also educates us, embracing Koons influences from Duchamp to Warhol to his own wife.  

 

 

 http://www.jeffkoons.com/