According to my research, Mona Lisa Smoking a Pipe by Sapeck, which is still listed over at Wikipedia as originating in 1883 and erroneously titled as Le rire, in fact first saw the light of day in 1887, in the book Le Rire by Coquelin cadet.
Wikipedia is not the only reference work in error. The Oxford Critical and Cultural History of Modernist Magazines erroneously states that this Mona Lisa was first shown in 1883 at the second “Incohérents” exhibition.
What is the importance of this augmented Mona Lisa?
Perhaps the invention of high art with capital ‘A’ coincided with the first blows of its ridicule. This augmented Mona Lisa was a desecration, a violation, a rape of its masterpiece: the Mona Lisa proper by da Vinci.
Two of these works (Negroes and Funeral March) are about nothingness and the void. They are precursors — by decades — to Russian artist’s Kazimir Malevich monochromes and to American musician John Cage’s silent music.
Then I remembered French artist Yves Klein, another artist who worked with the void.
But some (among whom Derek Jarman) have speculated that the heart attack was due to his “misrepresentation” in Mondo cane. Well, misrepresentation, one could almost say ridiculing; his Monotone Symphony, for example, was exchanged for a cheesy “More, More, More“-type soundtrack song from Mondo cane (while the orchestra was still seen playing) and the voice-over was anything but respectful for Klein’s exploits.
The documentary then draws attention to “Klein’s obsession with fame,” which “finally betrayed him.”
“[Sosos] laid at Pergamon what is called the asarotos oikos or ‘unswept room,’ because on the pavement was represented the debris of a meal, and those things which are normally swept away, as if they had been left there, made of small tessera of many colours.”
Making a mosaic floor with leftovers of food discarded from the table. How ‘modern’ is that?