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EastEnders’ characters plot a new life together abroad resulting in shock triple exit

EastEnders is set to face a shock triple exit as iconic Walford residents plot a new life abroad together.

BBC viewers said goodbye to Danny Dyer’s character Mick Carter on Christmas Day when he was lost at sea during a tense festive special.

Shortly after, Janine Butcher – played by Charlie Brooks – was carted off to jail following the tragedy on Boxing Day.

Exit: EastEnders is set to face a shock triple exit as iconic Walford residents plot a new life abroad together

More surprising exits are potentially on the cards as iconic character Ricky Butcher, played by Sid Owen, is planning a new life abroad.

Ricky gets custody of Janine’s daughter Scarlett following her mum’s arrest and plans on moving back to Germany.

During Ricky’s return to Albert Square, he and ex-wife Sam, played by Kim Medcalf, have started to reconnect – with the two discussing plans for the future, away from Walford.

Family: Ricky gets custody of Janine's daughter Scarlett following her mum's arrest and plans on moving back to Germany


Family: Ricky gets custody of Janine’s daughter Scarlett following her mum’s arrest and plans on moving back to Germany

Sam made an explosive comeback to the soap early last year, with Kim ‘thrilled’ to reprise the role after 17 years away from the soap.

Kim previously portrayed Sam on EastEnders from 2002 to 2005, taking over the role from Danniella Westbrook.

The daughter of Peggy Mitchell, made her first appearance in Walford in 1990, originally played by Danniella but was replaced by Kim in 2002, while she battled her highly publicised cocaine addiction.

Iconic: The daughter of Peggy Mitchell, made her first appearance in Walford in 1990, originally played by Danniella, 48


Recast: Danniella was replaced by Kim in 2002, due to her off screen difficulties


Iconic: The daughter of Peggy Mitchell, made her first appearance in 1990, originally played by Danniella, 48, (left) but was replaced by Kim in 2002 (right) due to her off screen difficulties

Also on EastEnders this week, viewers will finally see Linda Carter return to Walford after taking some time away in the wake of Mick’s apparent death.

The Queen Vic landlord vanished at sea during the soap’s Christmas Day episodes, mere hours after reconciling with ex-wife Linda.

As the pub remains closed in Linda’s absence, Alfie Moon decides to steal Linda’s keys and re-open the bar to earn some much-needed cash.

Alfie decides to throw a summer party to whisk away the January blues, but is left stunned when a furious Linda returns home with Annie and Ollie in tow.

Plot: Janine Butcher - played by Charlie Brooks - was carted off to jail following the tragedy on Boxing Day


Plot: Janine Butcher – played by Charlie Brooks – was carted off to jail following the tragedy on Boxing Day

Linda furiously accuses the neighbours of ignoring Mick’s death, and Alfie desperately tries to make amends by holding a vigil for him in the pub.

As Linda is surprised by the vigil, the police arrive with an update, and it remains to be seen what their news will be.

Elsewhere in the Square, Zack makes a huge decision when he decides to show his commitment to his pregnant girlfriend Whitney, after struggling to come to terms with his HIV diagnosis.

Emotional: Linda is furious when she returns to the Queen Vic to find Alfie Moon has reopened the pub and is in the middle of throwing a summer party

Emotional: Linda is furious when she returns to the Queen Vic to find Alfie Moon has reopened the pub and is in the middle of throwing a summer party

Growing furious at Suki’s clear disapproval of Whitney, a furious Zack cuts his hand on a glass, and it’s a conversation with Martin Fowler that helps him to come to a realisation.

As Whitney receives the results of her baby’s tests, Zack vows to be there for her as she opens the text from the doctor.

Despite Whitney asking Zack to keep his distance for now, it remains to be seen whether the couple will rekindle their romance as they prepare for their new arrival.

Elsewhere, Denise Fox finds her daughter Chelsea becoming involved in her cosy exchanges with Ravi Gulati, while terminally ill Lola Pierce and her fiancé Jay Brown share some happy news with their family.

EastEnders airs on Mondays to Thursdays at 7:30pm on BBC One and iPlayer.

Progress: As Whitney receives the results of her baby's tests, Zack vows to be there for her as she opens the text from the doctor


Progress: As Whitney receives the results of her baby’s tests, Zack vows to be there for her as she opens the text from the doctor

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Top 10 Strange and Bizarre Paintings




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For every picturesque painting, there is at least one strange and bizarre counterpart. We usually gloss over the oddities, because, well, they’re just weird. It’s almost like being the weird kid in middle school; you get put in your “box” and people peek in but don’t ask too many questions – that is if they dare to get close. Today, we’re going to dive, headfirst, into that box! So, strap in as we take a look at the top 10 strange paintings.

1. The Garden of Earthly Delights

Hieronymus Bosch, The Garden of Earthly Delights, c.1480-1505, Museo Nacional del Prado, Madrid, Spain.

How can we not begin this list with Hieronymus Bosch’s famously bizarre triptych, The Garden of Earthly Delights? The infamous masterpiece was likely commissioned by Engelbert, Count of Nassau, for the Coudenberg Palace. From outer panels to inside panels, it visualizes the Biblical creation and humanity’s fate, inflicted by our own tragic flaws. The story begins on the outer panels where Bosch created a monochromatic image of the Third Day of the Creation of the World. The half-empty sphere illustrates the formation of Eden as the waters of the world seem to drain and separate. God is perched in the top right corner as he observes his handy-work.

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Hieronymous Bosch, The Garden of Earthly Delights (outer panels), c.1480-1505, Museo Nacional del Prado, Madrid, Spain. Detail.

When the outer panels unfold, they reveal three brightly colored panels depicting a common theme: sin. As your eyes move about, you’ll probably conclude Bosch has created an image of a human menagerie. The left and central panels utilize a common horizon line that carries your eyes through Eden. As you take it all in, you’ll also probably wonder what Bosch ate to conjure such surrealistic images. In the air, you’ll find tree-bearing humans sailing through the air atop a swan-lion hybrid. Down on the earthly side, we see humans engaging in all kinds of behavior in a variety of odd places; two figures are laid up inside a clam, two more are face to face standing on their heads, or just chilling in an oddly egg-like object.

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Hieronymous Bosch, The Garden of Earthly Delights (right panel), c. 1480-1505, Museo Nacional del Prado, Madrid, Spain. Detail.

Then, on the right panel, all hell breaks loose – quite literally. Most depictions of the fiery depths are quite tame compared to Bosch’s painting. At the top, we see a shadowy city of sorts, illuminated by the fires springing up around it. As your eyes dare venture further down, there’s a pair of ears with a knife protruding through them, humans gathering for shelter, and all manner of strange beasts consuming humans. Just take a look at the blue, bird-like creature towards the right side. Seated atop a toilet-like throne, he is mid-snack while also excreting another human.

Throughout the whole panel, there are several musical instruments that symbolize the evil distractions our senses create. Those ears are the perfect example; the knife piercing them strongly represents that deceptive lure. Many of these symbols are taken straight from the seven deadly sins, themselves, which often leads us to believe that over-indulgence and consumption ultimately lead to our demise. It would take a whole book to unpack all the symbolism jammed into this strange painting. To fall into the rabbit hole of details, click here!

2. Magdalena Ventura with Her Husband and Son

Jusepe de Ribera, Magdalena Ventura with Her Husband and Son, 1631, Museo Fondación Duque de Lerma, Toledo, Spain.

We’ll continue our tour of strange paintings with a portrait of two men? Right? Guess again! The figure in the front is none other than the Bearded Woman of Abruzzi! Nowadays, gender is a fluid concept for most. While we might think this is a relatively new idea, Jusepe de Ribera‘s painting just might prove otherwise. Our lady, Magdalena, wasn’t much of a fan of the Renaissance’s ideal beauty. So, she defied those standards and created her own. Oddly enough, this made her quite famous. In fact, the Viceroy of Naples was fascinated by her and commissioned Ribera to paint her portrait.

While her breast appears a bit out of place, Ribera intentionally depicted her breastfeeding her son to show she is anatomically a woman. Meanwhile, her facial features, beard, and muscular figure juxtapose the womanly task with a masculine image. Even her finely colored robes allude to a manly figure as if, ironically, recalling an image of a Biblical prophet. Magdalena’s husband stands in the shadows behind her, appearing much older and more feeble. Their features and positioning allude to the idea that Magdalena’s reputation overshadows that of her husband, turning the typical marital balance upside down.

3. The Ugly Duchess

You just can’t help but do a double take with this strange painting. For decades, scholars believed this painting and its partner, Old Man, were satirical statements. The woman before us is dressed as an elderly temptress. In her right hand, she holds a rosebud, which has its own sexual connotations. To enhance that, her low-cut bodice exposes her wrinkled chest, furthering Massys’ allusion to the temptations of the flesh. Another clue is her heart-shaped headdress that seems oddly similar to devilish horns. Speaking of clothing, the artist has chosen to depict her in the rich garments and jewels typical of the upper class. However, those garments had been out of style for about a century by the time she was painted. Overall, it would seem that this pair of highly similar portraits mock the old and ugly for their mischievous, youthful behavior.

Thanks to science, we now know this isn’t the whole truth. A recent analysis of the painting has told us that this woman actually suffered from advanced stages of Paget’s disease, which deforms the bones. Here, that is presented in her oddly arched nostrils, pushed-up nose, elongated upper lip, and enlarged collar bones and forehead. Feel bad now? Yeah, me too.

Before we move on, another fun tidbit worth mentioning is a shared interest in the grotesque and bizarre shared by Quentin Massys and none other than Leonardo da Vinci. Leonardo frequently made studies of grotesque heads, which he likely exchanged with Massys. It was once believed The Ugly Duchess was a lost Leonardo due to its resemblance to two of his drawings. However, it is most likely Massys sent a copy of this portrait to Leonardo which his pupils then copied and altered.

4. The Melun Diptych

Jean Fouquet, The Melun Diptych, 1452, Gemäldegalerie, Berlin, Germany. Photo by Sailko via Wikimedia Commons (CC-BY-SA 3.0).

Next up: a late medieval masterpiece and one of the most unorthodox strange paintings of the Virgin Mary in art history. Jean Fouquet was commissioned to paint this diptych by Etienne Chevalier, treasurer to France’s King Charles VII. The left panel depicts the patron with St. Stephen, the first Christian martyr. That part is pretty straightforward. For our purposes today, we’ll focus on the right panel, also known as Madonna Surrounded by Seraphim and Cherubim.

This strange painting is equal parts fantastic and bizarre – and not just because of the freakishly charming seraphim and cherubim surrounding Mary or the man-toddler that is baby Jesus. Jean Fouquet broke with tradition in several ways here. His use of intense color is one but the most striking is his depiction of the Virgin Mary and the woman who served as his model. Now, it’s definitely not an issue that Mary is shown as the Queen of Heaven, as evidenced by her jewel-encrusted crown, throne, and dress. What’s bizarre is that half her chest is exposed, creating quite a sensual, erotic image of a traditionally chaste figure. Imagine the shock this must have given viewers in the 15th century! Said scandal was probably not helped by the fact that Fouquet’s model was likely the king’s mistress, Agnes Sorel.

Sorel’s beauty made quite an impression on the king, which, unsurprisingly, lead her to become his mistress. In this strange painting, Fouquet has captured that beauty, from the way her fashion-forward dress accentuates her body to her porcelain skin, and her demure gaze, she embodies ideal beauty. According to legend, Sorel’s bosom was quite eye-catching. Not to compare apples to oranges, but they are quite askew in both placement and size in the portrait. That factor might make you wonder what the men in the left panel are really looking at.

Sorel was actually more than a mistress who happened to bear the King several children. She was also one of his trusted counselors. During an ill-fated war, Sorel used her charm to gain the financial backing of the wealthy nobles, which in turn aided France in securing its borders. To thank her, Charles made her three children legitimate and promoted her to be his official mistress. In fact, she was the first mistress to be given this title. Said title came with many benefits, including a salary, private chambers, and a substantial place at court. As you could imagine, church officials as well as the King’s own son weren’t thrilled about this. Alas, the pregnant Agnes dropped dead not long after, likely due to mercury poisoning.

5. Study after Velázquez’s Portrait of Pope Innocent X

It’s quite unlikely you’ll ever see a figure as dignified as the pope shrieking in public. Luckily, Francis Bacon has brought that delightful image to life for us. During the 1950s Bacon experienced an inspirational shift, trading fantastical creatures for unconventional portraiture. This particular portrait is Bacon’s rendition of Diego Velázquez‘s Portrait of Pope Innocent X from 1650.

Francis Bacon had an opportunity to view his inspiration in person but allegedly never laid eyes on it. He stuck to reproductions of the famous portrait, claiming it would allow him to take greater artistic license with his own work. That license was quite extensive. Bacon often combined images from different places. For this particular strange painting, he took elements of Velázquez’s carefully rendered portrait, such as the gilded throne, his seated position, and vestments and combined them with a scream from Sergei Eisenstein’s 1925 movie, Battleship Potemkin. The manner in which he meshes these elements with a highly dramatic, ghostly color palette gives this painting a totally new, if unsettling, appeal.

This strange painting has been recognized as one of Bacon’s finest from his pope series but the reason why has been unclear for a while. To most, Bacon’s painting is mysterious. As hard as it can be to look at, you almost can’t help but look closer. In contrast to Velázquez’s serene, authoritative pope, Bacon’s seems to have lost all control; just about everything in this painting feels as though it is slipping away. His purple-blue face expresses an expression of silent distress. Bacon’s pope grips the chair as if hanging on, the golden cords extending below the chair seem to be the only boundaries holding him in place. These lines oddly resemble the shape of a boxing ring, perhaps suggesting the eternal, internal struggle we all fight.

6. Saturn Devouring His Son

Usually, gods and goddesses are the epitome of beauty and are portrayed as such, even in their most unflattering moments. Enter Francisco Goya! He broke from tradition with this rendition of Saturn. Before we dive into that, let’s take a look at the story behind this strange painting. According to the myth, the titan, Saturn, had been told via prophecy that one of his sons would usurp him and take his power, Naturally, Saturn wasn’t fond of that idea. He liked his power and wanted to keep it. So, Saturn ate one of his sons. Good parenting move, right? What Saturn didn’t know is that his wife, Rei, had hidden her youngest son, Zeus. In the end, Zeus ended up conquering the titans.

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At the time Goya painted this, he was contemplating the influences of power on humanity and likely painted this mural, and others, on the walls of his home, the Quinta del Sordo. Ironically, this one was painted on the dining room walls. Here, Goya has created a strikingly dark image that reflects the influence of what is essentially, the ego, on our own behavior, here shown as daddy’s snack time. As if to suggest that power also affects our appearance, he has depicted Saturn as a goblin-like creature, something most would consider sub-human. Saturn does not appear strong or god-like at all; while he appears tall, his limbs seem rather fragile and mangled. His frantic gaze and frazzled appearance reflect his desperation to hold onto his remaining shreds of dignity juxtaposed with the very inhumane action of eating your own offspring. Moral of the story: don’t be power-hungry and don’t eat your kids.

7. Medusa

Behold, the severed head of the gorgon, Medusa! You probably know Medusa as the beautiful woman with live snakes for hair or her ability to turn people to stone at first sight. That is, until Perseus beheaded her, using a shield he borrowed from Athena. What’s odd here is not just that Caravaggio used a young male model or that it’s painted on an actual shield, but the moment of the story the artist highlights in this piece.

As the tale would have it, the mirrored shield gifted to Perseus not only allowed him to see Medusa’s reflection but also gave her the chance to glimpse herself one last time. I’d bet those last moments of self-reflection came with some not-so-delightful realizations, seeing as her head is no longer attached to her body. With the backstory accounted for, Caravaggio’s work creates an interesting, albeit disturbing, mirror of Medusa’s last moments.

8. Dante and Virgil in Hell

Next up, a dark, yet weirdly interesting painting from the darker side of the Romantic period. French artist, William Adolphe Bouguereau took inspiration from a page of Dante’s Inferno, with a lovely setting- the eighth circle of hell conveniently set aside for falsifiers and counterfeiters. Sounds pleasant enough. That is until you see the smirking bat-demon creature flying above or the strange pile of bodies in the background or the two humans tearing each other to shreds. Those two fighters just happen to be Cappochio, an alchemist and heretic, and Gianni Schinni, who supposedly took another man’s identity in hopes of acquiring his fortune.

These two men were based on real people who were sentenced to death for the crimes mentioned above. Dante knew their stories and decided to include them, and many others, in his epic poem. Behind Cappochio and Schinni stand Dante and Virgil. Dante, in the red cap, looks on as he turns his friend, Virgil, away. If you look closely, you’ll notice Virgil is actually looking off to the right as if he’s seen something even more disturbing than the vampire-esque attack before him. Ironically, Bougueareau’s painting was dubbed a wonderful work of classical painting techniques.

9. The Vegetable Gardener

Giuseppe Arcimboldo isn’t a name most are familiar with. Yet, for a painter working during the Renaissance, his paintings are quite bizarre. Despite his unusual style, Arcimboldo’s work became synonymous with Mannerism and the Renaissance obsession with riddles, puzzles, and the strange and bizarre. Maybe that’s why Emperors Maximilian II and Rudolf II added quite a few of his strange paintings to the Kunstkammer (cabinet of curiosities).

Arcimboldo’s painting, The Vegetable Gardener, definitely fits the bill as a curiosity. Like the one above, Arcimboldo’s paintings are composite portraits, meaning he carefully arranged different, yet categorically related objects into the shape of a human bust. The end result is a fascinating, perfectly balanced allegory for different things, such as the seasons, the elements, even occupations. In The Vegetable Gardener, Arcimboldo creates a bust out of different vegetables, topped with a black bowl, clearly meant to represent gardener’s duties. The really cool thing about this one is, it belongs to a group called, “reversible heads.” If we turn the image upside down, it creates a more traditional still life of a bowl of vegetables. I don’t know about you, but once you’ve seen it upside down, it’s hard to un-see it!

10. Gabrielle d’Estrées and One of Her Sisters

Usually, taking baths with siblings is something we deem appropriate as young children but past a certain age, it’s just strange. At first glance, this bizarre painting seems to contradict that theory. The sister, the Duchess de Villars’ outstretched arm and nipple-pinching suggest some rather naughty things. Even the curtains overhead are parted in a way that alludes to a stage, making the audience feel like peeping toms.

While this painting has been interpreted as a fetishistic piece of homo-erotic art by many for quite some time, history would tell us we should pull our minds out of the gutter. Gabrielle, the pinchee, was mistress to King Henry IV. Oddly enough, many art historians have interpreted the Duchesses’ gesture as an announcement that Gabrielle is pregnant with the King’s illegitimate son. In this case, the nipple pinching is not as naughty as it would seem. Oddly enough, in this setting, it represents fertility, which is reinforced by the figure sewing baby clothes in the background.

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If this last painting doesn’t sum up the odd subtleties that make art so weird, I’m not sure what does. We know that some art is just plain strange and bizarre and we have to accept it at face value. However, knowing the visual languages of old can add some extra weirdness to many a piece of art.

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The Mystery of Vincent van Gogh’s Death




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Vincent van Gogh’s death occurred in the early morning of 29 July 1890, in his room at the Auberge Ravoux in the village of Auvers-sur-Oise in northern France. The Dutch painter was widely believed to have shot himself at the age of 37. He even confessed it on his deathbed. But did this really happen?

For years everyone blamed Van Gogh’s fragile mental health. In July 1890, after spending nearly a year in an asylum where he painted many of his most iconic paintings, including Starry Night, he obviously still suffered from never-ending mood swings. One day everything seemed to be fine and he was sending optimistic letters to his family. Another day in a letter he recalled all the suffering of his mind and soul.

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On July 29th, 1890 Van Gogh returned to the inn where he lived, probably around 9 pm, holding his stomach. When he showed up, the family owning the inn was worried about his condition and asked if everything was fine. Van Gogh started to answer with difficulty, “No, but I have…” as he climbed the stairs up to his room. When the owner asked whether he was ill, Van Gogh showed him a wound near his heart explaining: “I tried to kill myself.” During the night, Van Gogh admitted he had set out for the wheat field where he had recently been painting. Earlier that afternoon he shot himself with a revolver and passed out. Revived by the coolness of the evening, he tried in vain to find the revolver to complete the act. He then returned to the inn. Two days later he died.

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This account of Van Gogh’s suicide is based on the testimony of Adeline Ravoux, the daughter of the owner of the Ravoux Inn, who was 13 at the time. She didn’t tell the story until 1953, channeling the stories her father, Gustave, had told her over 50 years prior. Her account changed many times, which leads us to believe that it is not very credible.

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However, after 120 years this story is being questioned. Two Pulitzer Prize-winning authors, Steven Naifeh and Gregory White Smith made the shocking claim that Van Gogh was shot, possibly accidentally, by a 16-year-old schoolboy. In their biography from 2011 Van Gogh: The Life they pointed to the nature of the bullet wound, relations with his brother Theo, and also to a letter found in his pocket. This letter was far too optimistic for someone who was about to commit suicide; it wasn’t a suicide letter—it was a draft of a regular letter he sent to his brother on the day of the shooting.

There are some other facts that don’t match up as well. None of the earliest accounts of the shooting—those written in the days immediately after the event—mentioned suicide. They said only that Van Gogh had “wounded himself”. Furthermore, no one knew where he obtained the gun. Also neither the gun, nor any of the other items he had taken with him that day (canvas, easel, paints, etc.) were ever found. His deathbed doctors, an obstetrician and a homeopathist, couldn’t make sense of his wounds either.

Anyway, what kind of a person would try to kill himself with a shot to the midsection? Van Gogh was dying for 20 hours!

The biographers point to Gaston and René Secrétan, students at a Paris lycee, as responsible for the incident. René was interviewed in 1957 about the artist and revealed that he owned a pistol that Van Gogh may have taken. In Auvers, René was a bully. He said he modeled his behavior on his hero, Buffalo Bill Cody, whose Wild West Show René had seen in Paris the year before. He even bought a souvenir costume and accessorized it with an old, small-caliber pistol that looked menacing but often misfired.

By the time René arrived for the summer, Van Gogh was already the object of rumor and ridicule. He trudged through town with his mangled ear and awkward load, setting himself up to paint anywhere he pleased. He drank and he argued fiercely in an unintelligible jumble of Dutch and French.

René cozied up to the lonely painter at his café conversations about art. He paid for another round of drinks. Afterward, René would mock the strange Dutchman to amuse his merry band of mischief-minded summer boys.

René later became a respected member of French society. He was a banker and businessman, eventually retiring peacefully in the countryside. To no surprise, he denied having any role in Van Gogh’s death. He only confessed to providing the dodgy gun. He later joked that: “It worked when it wanted.” According to him, it was just “fate” that it worked the day it shot Van Gogh. He also said he had already left Auvers when the incident happened, which is unusual, as it was the middle of the season.

There is one more fact: a long-neglected account by a woman from an affluent family in Auvers. She broke with the community omertà and revealed that Van Gogh wasn’t in fact at the wheat field at the time the fatal shot was fired. According to her, Van Gogh was actually on the road that led to the Secrétan’s villa.

The art historian John Rewald traveled to Auvers in the 1930s and interviewed locals when the painter’s death was still remembered. Later, he confided to many people, including at least one on the record, a rumor he had heard there: that some “young boys” had shot Van Gogh accidentally. The boys never came forward, he was told, because they feared being accused of murder, and Van Gogh chose to protect them as a final act of martyrdom. The authors of the biography from 2011 postulate that after he was fatally wounded, Van Gogh welcomed death and believed the boys had done him a favor, hence his widely quoted deathbed remark: “Do not accuse anyone… it is I who wanted to kill myself.”

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The mystery of Vincent van Gogh’s death will be probably never solved. But for many, the legend of his genius mental illness, that made him create all his iconic paintings–and that lead him to his death–will remain.

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Is Jeff Koons’ Art Pornography? (18+)




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Jeff Koons has been controversial from the very beginning of his career, which began in around 1979. Having experimented with inflatable bunnies, sculptures of cheesy angels, and a lot of pinks, he challenges us and our preconceptions of art and kitsch, testing what is acceptable and what is simply tasteless. In 1989, he crossed yet another line by producing a series of very sexual posters and sculptures, making us question whether his art is pornography.

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Is This Art or Is It Pornography?

The series Made in Heaven features Koons himself and the Italian pornstar Ilona Staller, also known as Cicciolina. Koons felt that in order to make the works more credible, he needed to marry Cicciolina. He employed Ilona’s regular photographer and backdrops to make the posters fit with the distinctive aesthetic associated with “glamour” imagery and advertising.

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Koons tries to reference other provocative paintings, such as Édouard Manet’s Olympia, and by blurring the boundaries between fine art and pornography, to examine the place of sexuality in contemporary visual culture.

Koons produced not only posters but also a series of glass sculptures depicting him and Staller in various sexual poses. Doesn’t it remind you of the erotic Japanese prints we wrote about?

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There is much more explicit content that we decided not to publish here, but if you want to give them a closer look – visit Koon’s website.

The story of their marriage does not have a happy, postmodern ending. Koons expected Cicciolina to stop working in her industry after the marriage, but she didn’t want to. The couple split up and began a strenuous fight for the custody rights of their son. Cicciolina won and moved to Italy with her son, where she continued to work.

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