It is no surprise to see contemporary artists satirising iconic paintings, whether that be to voice a narrative that was unacknowledged in mainstream art history, to challenge the traditional subject matter and associations of the prestigious works, or sometimes simply to shock and entertain the viewer with their humorous remake.
Manelli, The Little Connoisseur II, Original, 36" x 47" (framed)
Manelli, The Art Lover, Original, 24" x 36" (framed)
Leo Manelli is an artist who bastardises 18th and 19th century masterpieces by casually integrating archetypes of contemporary artworks, such as works by Jeff Koons, Banksy and Keith Haring into the composition. In recreating the style of the masters so flawlessly, Manelli surprises the viewer with this hybridity of old and new. As an artist who is available for bespoke commissions, Manelli celebrates the essence of the great masters by incorporating flower still lifes, tromp l’oeil curtain drapery, connoisseurship, marble sculpture and elegant costumes, with an emphasis placed upon naturalism. There is a certain level of elitism associated with this standard of traditional art; it exemplifies a highly refined style and grand subject matter which was exposed primarily to the upper echelons of society. Modern art is praised for the way it can deconstruct this classism, it can challenge the boundaries of High and Low art, while street art, in particular, can engage with the masses.
Mr Brainwash, Girl With Pearl Ear Thing, Limited Edition, 34" x 30" (framed)
Created in a similar manner to Léo Manelli, Studio 74 holds another bastardised oil within the gallery’s collection; Mr Brainwash’s Girl With Pearl Ear Thing satirises the legendary portrait by Vermeer who worked in the Dutch Golden Age. Replacing the essential pearl earring with an Apple Airpod, Brainwash humorously remarks on the difference in aesthetics between contemporary adornments in the world of technology with traditional jewellery. Brainwash further bastardises the piece by including an iPhone, held in the girl’s hand, with the screen displaying an image of Brainwash’s Reach for Love, a colourful painting which draws on a range of modern art emblems. Imagery includes; Campbell’s soup cans by Andy Warhol, Banksy’s girl with the balloon, graffiti slogans and abstract splatters. This idea of a painting within a painting commemorates Mr Brainwash’s own oeuvre, and challenges the viewer’s initial assumptions.
