Visual Analysis Flashcards
(298 cards)
1
Q
A
Hans Arp, Earth Forms, 1917.
2
Q
A
Sophie Taeuber-Arp, Dada head, 1920.
3
Q
A
Sophie Taeuber-Arp, Portrait of Jean Arp, 1918.
4
Q
A
John Heartfield and Rudolf Schlichter, Prussian Archangel, 1920.
The giant puppet is wrapped with a poster that reads “I come from Heaven, from Heaven on high” (well-known German Christmas carol); and sign dangling below further mocks the military: “In order to understand this work of art completely, one should drill daily for twelve hours with a heavily packed knapsack in full marching order in the Tempelhof Field [a military training ground in Berlin].”
5
Q
A
Otto Dix, Kriegskrüppel (War-Cripples), 1920.
It was exhibited at the Entartete Kunst exhibition of degenerate art held in Munich in 1937, and later destroyed by the Nazis.
6
Q
A
George Grosz, Sex Murder on Ackerstrasse, 1916.
Think about this image in relation to the body as configured in Surrealism, particularly in relation to Bellmer.
7
Q
A
George Grosz, Tatlinesque Diagram/Life Model, 1920.
Watercolour, ink and collage on paper.
8
Q
A
Hannah Höch, Dada Panorama, 1919.
9
Q
A
Hannah Höch, Tamer, 1930.
10
Q
A
Hanna Höch, From An Ethnographic Museum, 1929.
11
Q
A
Hannah Höch, German Girl, 1930.
12
Q
A
Hannah Höch, Album, 1933-4.
13
Q
A
Francis Picabia, Fille née sans mère [Girl Born without a Mother], 1916-17.
14
Q
A
Eadweard Muybridge, Nude Descending Stairs, 1887.
His objective was to solve “the problem of locomotion with the aid of photography”
15
Q
A
Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912.
16
Q
A
Duchamp, Fountain, 1917.
17
Q
A
Joan Miró, Love, 1925.
18
Q
A
René Magritte, The Lovers, 1928.
19
Q
A
Joan Miró, A Star Caresses the breast of a Negress, 1938.
20
Q
A
René Magritte, The Rape, 1934.
21
Q
A
Salvador Dali, The Phenomenon of Ecstasy, 1933.
22
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A
Pablo Picasso, Les Demoiselles d’Avignon, 1906.
23
Q
A
Giorgio de Chirico, Enigma of the Day, 1914.
24
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A
Giorgio de Chirico, Mystery and Melancholy of the Street, 1914.
25
Giorgio de Chirico, *The Brain of the Child*, 1914.
26
René Magritte, *Son of Man*, 1946.
## Footnote
“**Everything we see hides another thing, we always want to see what is hidden by what we see**.”- Magritte
27
René Magritte, *Golconda*, 1953.
28
Photograph in Breton's *Nadja*, 1928.
Jacques-Andre Boiffard, Hôtel des Grands Hommes.
Picture caption: “I shall take as my point of departure the Hôtel des Grands Hommes”.
29
Photograph in Breton’s *Nadja*, 1928 (flea market).
30
Photograph in Breton’s *Nadja*, 1928 (Sphinx Hotel)
31
Jacques Andre Boiffard, *Nadja*, 1928/1964.
Caption: “The luminous Mazda sign on the great boulevards..”.
32
Photograph in Breton’s *Nadja*, 1928.
33
Montage of Nadja’s eyes, added to the 1964 Livre de poche edition of *Nadja*.
## Footnote
“**I had never seen such eyes. Without a moment’s hesitation, I spoke to this unknown woman**.”
34
*Rue Surréaliste/Surrealist Street*, at the International Surrealist Exposition, Galerie Beaux-Arts, Paris, 1938.
35
André Masson, *Mannequin*, 1938.
36
Marcel Duchamp, *L.H.O.O.Q.*, 1919.
## Footnote
Pun - letters sound like "Elle a chaud au cul", "She is hot in the arse".
Objet trouvé.
37
René Magritte, *Key of Dreams*, 1935.
38
From Breton's *Nadja*, *The Lovers’ Flower*, 1926.
39
Hélène Vanel, *Unconsummated Act*, International Surrealist Exhibition, 1938.
## Footnote
Dalí recommends Vanel. Performing hysteria.
40
André Masson, *Automatic Drawing*, 1924.
41
André Masson, *Birth of Birds*, 1925.
42
André Masson, *Figure*, 1926-27.
43
Joan Miró, *Catalan Landscape/The Hunter*, 1923-4.
44
Joan Miró, *Maternity*, 1925.
45
Meret Oppenheim, *My Governess*, 1936.
46
Meret Oppenheim, *Object/Breakfast in Fur*, 1936.
47
Max Ernst, *Oedipus Rex*, 1922.
48
Odile Redon, *The Eye Balloon*, 1878.
49
Max Ernst, *Pietà,* or *Revolution by Night*, 1923.
50
Max Ernst, *Men Shall Know Nothing of This*, 1923.
51
Max Ernst, *Forest and Dove*, 1927.
Grattage (scraping): canvas prepared with a layer or more of paint then scraped over object.
52
Max Ernst, *Natural History*, book, 1926.
Frottage (rubbing): pencil on paper over Object (leaf/floorboard).
53
Max Ernst, *The Robing of the Bride*, 1940.
## Footnote
Here Ernst has used the technique of **decalcomania** invented in 1935 by Oscar Domínguez, in which diluted paint is pressed onto a surface with an object that distributes it unevenly, such as a pane of glass.
54
Max Ernst, *Totem and Taboo*, 1941.
## Footnote
Here Ernst has used the technique of **decalcomania** invented in 1935 by Oscar Domínguez, in which diluted paint is pressed onto a surface with an object that distributes it unevenly, such as a pane of glass.
55
Dali, *Self-portrait in the Studio*, c1919.
56
Dali, *Self-portrait with neck of Raphael*, 1920-21.
57
Dali, *Figure at a Window*, 1925 (Ana Maria).
58
Dali, *Portrait of Luis Buñuel*, 1924.
59
Dali, *The Wounded Bird*, 1928.
60
Dali, *The Rotting Donkey*, 1928.
61
Salvador Dali, *The Lugubrious Game*, 1929.
62
Dali, *Accommodation of Desire*, 1929.
63
Dali, *The Great Masturbator*, 1929.
64
Bataille, *Analysis of Lugubrious Game*, Documents, No 7, 1929.
65
Dali, *Paranoiac Woman-Horse (Invisible Sleeping Woman, Lion, Horse)*, 1930.
## Footnote
Think about: Giulio Romano, *Fight for the body of Dead Patroclus*, (detail) c1499- 1546 & Heinrich Fussli, *Nightmare*, 1781.
66
Dali, *Meditation on the Harp*, 1932-34.
67
Dali, *Atavism of Twilight*, 1933-34.
## Footnote
Think about: Millet, *The Angelus*, 1857.
68
Dali, *Weaning of Furniture Nutrition*, 1934.
69
Dali, *Enigma of William Tell*, 1937.
70
Dali, *Enigma of Hitler*, 1938.
71
Dali, *Sleep*, 1937.
72
Man Ray, *Gift*, 1921.
73
Man Ray, *Rayographs*, 1922
## Footnote
Tristan Tzara, introduction to Rayographs, published in 1922: ‘The photographer has invented a new method; he presents in space an image that goes beyond it.’
74
Man Ray, *Rayographs*, 1922
## Footnote
Tristan Tzara, introduction to Rayographs, published in 1922: ‘The photographer has invented a new method; he presents in space an image that goes beyond it.’
75
Still from: Man Ray, *Le Retour a la raison*, 1923.
2 mins, 35 mm, Black and white, silent.
76
Still from: Man Ray, *Le Retour a la raison*, 1923.
2 mins, 35 mm, Black and white, silent.
77
Still from: Man Ray, *Le Retour a la raison*, 1923.
2 mins, 35 mm, Black and white, silent.
78
Still from: Man Ray, *Le Retour a la raison*, 1923.
2 mins, 35 mm, Black and white, silent.
79
Man Ray, *Emak Bakia*, 1926.
Wood and horse hair. (Also made a film of the same name).
80
Man Ray, *Gertrude Stein*, 1922.
81
Man Ray, *Picasso*, Paris, 1933.
82
Man Ray, *Divine Marchesa*, of Marquise Luisa Casati, 1922.
Italian aristocrat and important patron for the avant-garde.
83
Man Ray, *La Marquise Casati*, of Marquise Luisa Casati, 1935.
84
Man Ray, Portrait of Marquise Luisa Casati.
85
Man Ray, *Portrait of Rrose Selavy* (Marcel Duchamp), 1921.
86
Man Ray, *Barbette*, Paris, 1926.
Commissioned to capture Vander Clyde’s transformation into Barbette by Jean Cocteau.
87
Man Ray, *Barbette*, Paris, 1926.
Commissioned to capture Vander Clyde’s transformation into Barbette by Jean Cocteau.
88
Man Ray, *Kiki de Montparnasse*, in his hotel room, Paris, 1922.
89
Man Ray, *Violon d'Ingres*, 1924.
## Footnote
Playing with Jean Auguste Dominique Ingres, *The Turkish Bath*, 1862. Lots of backs.
90
Man Ray, *Noire et blanche* (II) and (III), 1926.
91
Man Ray, *Noire et blanche* (IV), 1926.
92
Man Ray, *Veiled Erotic*, 1933.
Taken in the studio of painter Louis Marcoussis (who appears in some of the photographs, wearing a bowler hat and false beard).
93
Man Ray, *Lee Miller*, Paris, c1929.
94
Lee Miller, *Man Ray*, Paris, c1930.
95
Theodore Miller, *Nude Study (Lee Miller)*, New York, 1 July 1928.
96
Man Ray, *Lee Miller (neck)*, c1930.
97
Man Ray, *Le Logis de l'artiste*, c1931.
98
Lee Miller, *Self-portrait*, (for article on hairbands), New York, 1932.
99
Man Ray, *Lee Miller* (modelling for Jean Patou), Paris, c1930.
100
Man Ray, *Torso*, 1931.
From the portfolio *Electricite*.
101
Man Ray, *Lee Miller's Eye...*
## Footnote
Postscript: Oct. 11, 1932:
With an eye always in reserve
material indestructible…
forever being put away
Taken for a ride…
put on the spot…
The racket must go on
I am always in reserve
MR
102
Man Ray, *Object of Destruction*, 1928/32.
Remakes this after split with Miller, with her eye.
103
Man Ray, *Lee Miller (torso)*, 1933.
104
Man Ray, *Minotaur*, 1934.
105
Man Ray, *Anatomies*, 1929.
106
Lee Miller, *Nude bent forward*, c1931.
107
Lee Miller, *Portrait of Space* (Siwa Oasis,Egypt), 1937.
108
Lee Miller, *Non Conformist Chapel*, London, 1940.
109
David E. Scherman, *Lee Miller in Hitler's Bath*, 1945.
110
Lee Miller, *Dachau*, 30 April 1945.
111
Lee Miller, SS Officer, Buchenwald, pub in *Vogue* June 1945.
112
Lee Miller, *Collaborator*, Rennes, 1944.
113
Alberto Giacometti, *Hands Holding the Void*, 1934.
114
Man Ray, *A highly evolved descendent of the helmet*, 1934.
115
Man Ray, *Slipper spoon*, 1934.
116
Meret Oppenheim, *Sandals*, 1936.
117
Duchamp, *Bottle rack*, 1914.
118
Giacometti, *Suspended ball*, 1930.
119
Exhibition of Surrealist objects, Galerie Charles Ratton, Paris, 1936
120
Dali, *Scatological Object*, 1931.
121
Marcel Duchamp, *Please Touch*, 1947.
122
Valentine Hugo, *Symbolically functioning object*, 1930.
123
Still shot from Salvador Dali and Luis Bunel, *L’Age d’or*, 1930.
124
André Boiffard, *Big toe of a 30-year old male subject*, 1929.
125
Hans Bellmer, *La Poupée (The Doll)*, 1935.
126
Meret Oppenheim, *The Couple*, 1956.
127
Meret Oppenheim and Elsa Schiaparelli, Fur bracelet, 1936.
128
Claude Cahun, *Object*, 1936.
## Footnote
“La Marseillaise est un chant révolutionnaire. La loi punit le contrefacteur des Travaux forces” - The Marseillaise is a revolutionary song. The law punishes the counterfeiter with hard labour.
129
Claude Cahun, *Untitled*, 1936.
130
Claude Cahun, *Untitled*, 1936.
131
Claude Cahun, *Studies for a keepsake*, 1925.
132
Claude Cahun, *Le Coeur de Pic*, 1936.
133
Joseph Cornell, *Untitled (Fortune-Telling Parrot for Carmen Miranda)*, 1939.
134
Wolfgang Paalen, *Articulated Cloud*, 1936.
135
Salvador Dali, *Lobster telephone*, 1936.
136
Salvador Dali, *Retrospective bust of a woman*, 1933.
137
Salvador Dali, *Venus de Milo with Drawers*, 1936.
138
Marcel Jean, *Spectre of the Gardenia*, 1936.
139
Man Ray, *Cadeau (The gift)*, 1921.
140
Marcel Duchamp, *Étant donnés*, 1946-66.
141
Marcel Duchamp, *Dart object*, 1951.
142
Marcel Duchamp, *Female Fig leaf*, 1951.
143
Marcel Duchamp, *Wedge of chastity*, 1951.
144
Sheila Legge as the surrealist phantom of sex appeal, Trafalgar Square, International Surrealist Exhibition, London 1936.
145
Max Ernst, Exhibition poster, International Surrealist Exhibition, London, 1936.
146
Max Ernst, Exhibition catalogue, International Surrealist Exhibition, London 1936.
147
Salvador Dali, *Three Young Surrealist Women Holding the Debris of an Orchestra in their Arms*, 1936.
148
Roland Penrose, *The Real Woman*, 1938.
149
Roland Penrose, *Last Voyage of Captain Cook*, 1936.
150
Roland Penrose, *The Dew Machine*, 1940.
151
Roland Penrose, *Seeing is Believing (L'Ile Invisible)*, 1927.
152
Roland Penrose, *The Road is Wider than Long*, 1939.
153
Paul Nash, *Landscape at Iden*, 1928.
154
Paul Nash, *Swanage*, 1936.
155
Paul Nash, *Landscape from a Dream*, 1936-8.
156
Henry Moore, *Composition*, 1931.
157
Henry Moore, *Four-Piece Composition: Reclining Figure*, 1934.
158
Hans Arp, *Bell and Navels*, 1931.
159
Alberto Giacometti, *Woman with Her Throat Cut*, 1932.
160
Alberto Giacometti, *Disagreeable Objects*, 1931.
161
Henry Moore, *Three Points*, 1939.
162
Paul Nash, *Dead Sea*, 1940.
163
Henry Moore, *Tube shelter perspective*, 1941.
164
Lee Miller, *Camouflage*, 1942.
165
Hans Bellmer, *The Doll (Die Pűppe)*, 1934.
166
Hans Bellmer, *The Doll (La Poupée)*, 1935.
167
Hannah Höch, *Indian Dancer: From an Ethnographic Museum*, 1930.
168
Hannah Höch, *Love*, 1925.
169
Hannah Höch, *Broken*, 1925.
170
Hans Bellmer, *The Doll*, 1934.
171
Hans Bellmer, *The Doll*, 1934.
172
Hans Bellmer, Poupée, variations sur le montage d'une mineure articulée" *Minotaure* 6 (Winter, 1934–35), pp. 30–31.
173
Hans Bellmer and Paul Eluard, *Les Jeux de la Poupee*, c1936-8, published 1949.
174
Hans Bellmer and Paul Eluard, *Les Jeux de la Poupee*, c1936-8, published 1949.
175
Hans Bellmer, *The Doll*, 1935.
176
Hans Bellmer and Paul Eluard, *Les Jeux de la Poupee*, c1936-8, published 1949.
177
Hans Bellmer, *La Poupée*, 1935-1949.
178
Hans Bellmer, *Untitled from La Poupée (The Doll)*, 1936.
179
Hans Bellmer, *The Doll (La Poupée)*, 1935-36, with elements from 1933-34; additions and repairs in 1945 and 1970-71.
180
Hans Bellmer, *The Machine-Gunneress in a State of Grace*, 1937.
181
Frida Kahlo, *What the Waters Gave Me*, 1938.
182
Frida Kahlo, *Self-Portrait on the Border Line Between Mexico and the United States*, 1932.
183
Kahlo, *Self Portrait in Tehuana Dress (Diego on my mind)*, 1943.
184
Frida Kahlo, *My Grandparents, My Parents and I (Family Tree)*, 1936.
185
Frida Kahlo, *Accident*, drawing, 1926/
186
Diego Rivera, Mural from Ministry of Education, Mexico, 1923-8.
187
Frida Kahlo, *Frida Kahlo and Diego Rivera*, 1931.
188
Frida Kahlo, *Henry Ford Hospital (Detroit)*, 1932.
189
Frida Kahlo, *My Birth*, 1932.
Think about diety Tlazolteotl in act of childbirth, sculptures of her.
190
Frida Kahlo, *My Nurse and I*, 1937.
191
Frida Kahlo, *A Few Small Nips*, 1935.
192
Frida Kahlo, *The Two Fridas*, 1939.
193
Frida Kahlo, *Self-portrait with Cropped Hair*, 1940.
194
Frida Kahlo, *Self Portrait with Hummingbird*, 1940.
(Huitzilopochtli, God of Sun and War)
195
Frida Kahlo, *Self Portrait with Monkey*, 1938.
196
Frida Kahlo, *Me and my Parrots*, 1941.
197
Frida Kahlo, *Roots*, 1943.
198
Frida Kahlo, *Little Deer*, 1946.
199
Frida Kahlo, *The Love Embrace of the Universe, the Earth (Mexico), Diego, me and Senor Xolotl*, 1949.
200
Frida Kahlo, *Marxism Will Give Health to the Sick*, c.1954.
201
Frida Kahlo, *Marxism Will Give Health to the Sick*, c.1954.
202
Frida Kahlo, *Plaster Cast/Corset with Hammer and Sickle*, c1950.
## Footnote
Dry plaster and mixed media acrylic on canvas. Used by Frida during her confinement at the Hospital Ingles in 1950 after surgery. Details her life story and politcs on exterior, her bodily imprint in interior.
203
Frida Kahlo, *Viva la Vida*, 1954.
204
Andre Masson, *Gradiva*, 1938.
205
Magritte, *Je ne vois pas la femme cachée dans la forêt*, 1929.
206
Magritte, *Attempting the Impossible*, 1928.
207
Eileen Agar, *Ceremonial Hat for Eating Bouillabaisse*, 1936.
208
Max Ernst, *Alice*, 1941,
209
Max Ernst, Illustration for *The Debutante*, 1937-38.
210
Leonora Carrington, *Crookhey Hall*, 1947.
211
Leonora Carrington, *The Hearing Trumpet*, 1976.
212
Leonora Carrington, *Inn of the Dawn Horse*, 1937.
213
Leanora Carrington, *The Horse of Lord Candlestick*, 1938.
214
Carrington, *The Meal of Lord Candlestick*, 1938.
215
Leonora Carrington, *Green Tea or La Dame Ovale*, 1942.
216
Leonora Carrington, *Portrait of Max Ernst*, 1938.
217
Dorothea Tanning, *Max in a Blue Boat*, 1947.
218
Leonora Carrington, *Down Below*, 1941.
219
Leonora Carrington, *Palatine Predella*, 1946.
220
Leonora Carrington, *And then we saw the daughter of the Minotaur*, 1953.
221
Leonor Fini by André Ostier, 1948.
## Footnote
The owl costume she designed to wear for the Bal des Oiseaux (Ball of Birds) in 1948 was a direct inspiration O’s costume in the final scene of Pauline Réage’s legendary erotic novel Histoire d’O (Story of O, 1954) which Fini illustrated in 1962.
222
Leonor Fini, *Figures on a Terrace*, 1938.
223
Leonor Fini, *The Ideal Life*, 1950.
224
Leonor Fini, *Shepherdess of the Sphinxes*, 1941.
225
Leonor Fini, *Little Hermite Sphinx*, 1948.
226
Leonor Fini, *Sphinx Amalburga (Sphinx Amoureux)*, 1942.
227
Leonor Fini, *Cthonian Figures watching over the sleep of a Young Man*, 1947.
## Footnote
‘The man in my painting sleeps because he refuses the animus role of the social and constructed and has rejected the responsibility of working in society towards those ends.’
228
Leonor Fini, *End of the World*, 1949.
229
Dorothea Tanning, *Birthday*, 1942.
230
Dorothea Tanning, *Children’s Games*, 1942.
231
Dorothea Tanning, *Eine Kleine Nachtmusik*, 1943.
232
Dorothea Tanning, *Pincushion to serve as fetish*, 1965.
233
Dorothea Tanning, *Nue Couchée*, 1969-70.
234
Claude Cahun, *Mirror Portrait*, 1928.
235
Marcel Moore, *Mirror Portrait*, 1928.
236
Claude Cahun as Blue Beard’s Wife (Elle), with Roger Roussot of ‘Le Plateau’ theatre group in *Barbe Bleu*, March-May 1929.
237
Cahun as Satan (Le Diable) in *Le Mystere d’Adam,* May-June 1929, produced by Albert-Birot.
238
Claude Cahun, *Self Portrait (Don’t Kiss Me I am in Training)*, c1927.
239
Claude Cahun, *Self Portrait (Don’t Kiss Me I am in Training)*, c1927.
240
Claude Cahun and Marcel Moore, photomontage, *Aveux non avenus*, Plate II, 1930, 15.2×10.5 cm. Collection Fonds Albert-Birot, Paris.
241
Claude Cahun, *Aveux non Avenus* , 1930, photomontages.
## Footnote
Text reads: ‘Here the executioner takes on the airs of a victim. But you know what to believe. Claude’
‘**The succession of painted eyes and lips underscores the artifice and versatility of a single face, becoming a series of masks that in and of themselves obscure their own ‘identities’: male here, female there, and elsewhere impossible to tell**.' - Laurie Monahan, ‘Radical Transformations: Claude Cahun and the Masquerade of Womanliness’
242
Claude Cahun, *Aveux non Avenus* , 1930, photomontages.
243
Claude Cahun, *Poupée*, 1936.
244
Claude Cahun, *Self Portrait*, 1939.
245
Dorothea Tanning, Deirdre, 1940.
246
Dorothea Tanning, The Magic Flower Game, 1941.
247
Dorothea Tanning, A Very Happy Picture, 1947.
248
Dorothea Tanning, L’Auberge, 1949.
249
Dorothea Tanning, Bâteau bleu (The Grotto), 1950.
250
Dorothea Tanning, A Mrs. Radcliffe Called Today, 1944.
251
Dorothea Tanning, Love Letter, 1948.
252
Dorothea Tanning, Endgame, 1944.
253
Dorothea Tanning, Door 84, 1984.
254
Dorothea Tanning, Self-Portrait, 1944.
255
Dorothea Tanning, Lumière du foyer, 1952.
256
Dorothea Tanning, The Guest Room, 1950–2.
257
Dorothea Tanning, The Philosophers, 1952.
258
Dorothea Tanning, Notes for an Apocalypse, 1978.
259
Dorothea Tanning, Musical Chairs, 1951.
260
Dorothea Tanning, Daughters, 1983.
261
Dorothea Tanning, Poached Trout, 1952.
262
Dorothea Tanning, Family Portrait, 1954.
263
Dorothea Tanning, The 7 Spectral Perils, 1950.
264
Dorothea Tanning, The Mirror, 1950.
265
Dorothea Tanning, Some Roses and Their Phantoms, 1952.
266
Dorothea Tanning, Pour Gustave l’adoré, 1974.
267
Dorothea Tanning, Deux Mots, 1963.
268
Dorothea Tanning, Insomnias, 1957.
269
Dorothea Tanning, Nocturnal Melees, 1958.
270
Dorothea Tanning, A Mi-Voix, 1958.
271
Dorothea Tanning, Assez causé, 1962.
272
Dorothea Tanning, Bonimenteurs, 1966.
273
Dorothea Tanning, Tourists of Prague III, 1961.
274
Dorothea Tanning, Even the Young Girls, 1966.
275
Dorothea Tanning, Même Inutile, 1969.
276
Dorothea Tanning, Far From, 1964.
277
Dorothea Tanning, Tango Lives, 1977.
278
Dorothea Tanning, Stanza, 1978.
279
Dorothea Tanning, Étreinte, 1969.
280
Dorothea Tanning, Maternity V, 1980.
281
Dorothea Tanning, Maternity, 1977.
282
Dorothea Tanning, Emma, 1970.
283
Dorothea Tanning, Hotel, 1988.
284
Dorothea Tanning, Mamababy, 1988.
285
Dorothea Tanning, Hôtel du Pavot, Chambre, 202 1970–3.
286
Dorothea Tanning, Dogs of Cythera, 1963.
287
Dorothea Tanning, Tweedy, 1973.
288
Dorothea Tanning, Xmas, 1969.
289
Dorothea Tanning, Don Juan’s Breakfast, 1972.
290
Dorothea Tanning, On Avalon, 1987.
291
Dorothea Tanning, Verbe, 1969–70.
292
Dorothea Tanning, Traffic Sign, 1970.
293
Dorothea Tanning, Murmurs, 1976.
294
Dorothea Tanning, Mean Frequency (of Auroras), 1981.
295
Dorothea Tanning, To Climb a Ladder, 1987.
296
Dorothea Tanning, Heartless, 1980.
297
Dorothea Tanning, Cousins, 1970.
298
Dorothea Tanning, De quel amour, 1970.
