
Gustav Klimt, “The Kiss.” All images © ND Stevenson
More than 100 years after it was first exhibited, art historians still debate whether
If Duchamp were around today to know what an emoji was, he’d probably love comic artist
Starting with a basic background image, Stevenson adds numerous elements, like a fork standing in for a pitchfork in Grant Wood’s “American Gothic” or an upside-down red exclamation point in place of a necktie in René Magritte’s “The Son of Man.” For Johannes Vermeer’s “Girl with a Pearl Earring,” a bowl and a cloud provide the basis of the subject’s famous blue-and-white head wrap; a toilet stands in for Duchamp’s urinal; and numerous flowers, evil eyes, books, cheese, and urns make up the patterns of Klimt’s embracing figures in “The Kiss.”
It’s worth diving into

Left: Grant Wood, “American Gothic.” Right: Johannes Vermeer, “Girl with a Pearl Earring”

René Magritte, “The Son of Man”

Left: Jacques-Louis David, “The Death of Marat.” Right: Marcel Duchamp, “Fountain”

Georges Seurat, “A Sunday Afternoon on the Island of La Grande Jatte”

Left: Edward Hopper, “Nighthawks.” Right: Salvador Dalí, “The Persistence of Memory”

Jean-Honoré Fragonard, “The Swing”

Left: Michelangelo, “The Creation of Adam” detail of the Sistine Chapel ceiling. Right: Francisco Goya, “Saturn Devouring His Son”

Vincent van Gogh, “Sunflowers”
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