Robert A. Baron, Mona Lisas

Analysis:
Artist Espenschied's recent set of sumi-e ink drawings, if anything, are ironic dissertations on the plight and precarious role of the modern artist. They are therefore ironic autobiographies, rather like cartoon views into an unauthorized autobiography of the artist. The return of the Mona Lisa, seen above, immediately calls to mind well-known art historical themes and images. The Mona Lisa, of course, takes center stage, but also we see the daring ride of Lady Godiva. Seasoned students of the image will also recognize references to Christ's Entry into Jerusalem, where in this case the crossed hands of portraiture become the bound hands of imprisonment. There is also a veiled reference to the Holy Family's Flight into Egypt.

But these overt citations only lead the viewer deeper into mystery. What is the meaning of the three champagne-toasting acolytes seated at table. The only way to pierce the armor shielding the secret of this picture is to leave the world of public mythology behind and enter into the private mythic and history of the artist himself.

The picture refers to an event that took place in this writer's home once when the artist was invited for dinner. The key to understanding the message can be understood by only a few individuals, and relies on the realization that the horse or donkey upon which the Mona Lisa figure sits is not like a horse at all, but more closely resembles a dog. Most viewers might be easily confused by the apparent naivete of the drawing; since the artist gives little hint that he is an accomplished master draughtsman. The apparent accident of the style conceals intentional formulations. The awkward dog-horse is truly a canine. Indeed, the dog is this writer's Labrador/Chou mix who without apparent provocation one night took a fair chunk out of the artist's painting hand.

The painting, dated months after the above incident, therefore can be understood to show the triumph of the artist over this unruly animal, but it also signifies the triumphal return of the artist as celebrity, manifest as the Mona Lisa, a metaphor of creativity and of secret meanings. Mona/Artist is cheered by dinner hosts and guests, fans, who hold their champagne glasses high, celebrating on one hand the artist's triumphal return to culture, and on the other, their great relief that the artist is not litigious.