Madonna and contemporary arts
The contributions and influence of American artist
Madonna's interest in the arts began in her early life. When she moved to New York City to pursue a career in
Madonna is an
Throughout her career, her visuals and artistry have attracted both celebratory and derogatory commentaries. Late-twentieth-century views on Madonna were a constant amid
Background
Formative years
The story of Madonna's origins as an artist is as important as the music itself in understanding the impact she's had on bringing the underground into the mainstream.
Madonna's background with the arts, and how it influenced her future career, have been documented. In a conversation with curator Vince Aletti in 1999, she said her interest in art started as a child.[2] She visited the Detroit Institute of Arts, which is how she found out about Frida Kahlo and started reading about her.[2] Madonna also mentioned her Catholic education, saying "there's art everywhere" in the churches, "so you get introduced to it that way".[2]
From early on, Madonna's father encouraged his children to take classes related to art disciplines. He wanted her to take
In Rochester School of Ballet, she met its instructor Christopher Flynn, who took a special interest in helping her succeed.[3] Flynn took it upon himself to become her mentor, impressed by her talent and ambition, exposing her to Detroit's museums, operas, concerts, art galleries, and fashion shows.[4][6] Her tastes broadened to include classical music, Pre-Raphaelite painters, and poets.[4]
1970s and arrival to New York City
Madonna pursued a career in modern dance, moving to New York City in the late 1970s. She attended numerous museums for free,[2] and worked as an art nude model in art schools for photographers such as Martin Schreiber and Lee Friedlander.[8] This brought her into contact with painters and photographers. Madonna would later declared: "People painted me all the time".[9] She briefly took classes of photography, painting and drawing.[10]
While pursuing her dance career, Madonna also attended the 1978 American Dance Festival at Duke University in Durham, meeting Pearl Lang who became later her dance mentor and helped her get a work at the Russian Tea Room.[7] About her participation in the festival, Richard Maschal, whom interviewed her for The Charlotte Observer in 1978, described the then dance student as "what the American Dance Festival is about".[11] A year later, she successfully auditioned to perform in Paris with French disco artist Patrick Hernandez as his backup singer and dancer. She was selected by Fernandez from an audition attended of 1,500 people, impressed by her stage presence.[12] Hernandez and his team, also took interest to grom her as a star, and her Parisian patrons, intended to develop and marked Madonna as a disco singer, paying her expenses, and further classes for singing, dancing and conversational French lessons.[7] Hernandez claims that his fame motivated Madonna, as he and his friends "succeeded" in convincing her that she could become a major recording star.[7] She grew deeply dissatisfied with the pace of her career as dictated by her managers, and she also didn't respond well to the disco music. Then she returned to New York City.[7]
Personal relationships
Outlet Contemporary Art explained that Madonna made her first connection with the local art scene of New York in clubs located in the Lower East Side and SoHo, including Danceteria, The Limelight, The Roxy, Funhouse, Mudd Club and the Paradise Garage, frequented by School of Visual Arts artists and others public figures.[14] She befriended various painters, graffiti and visual artists such as Keith Haring, Futura 2000, Fab Five Freddy and Daze.[15][16] In 1978, she met graffiti artist Norris Burroughs, with whom she had a brief relationship.[15]
Artist
In an interview with American artist
During the spent time with her graffiti artist friends in New York, she used the
Implementation and influence in her work
Her early visuals/presentation were often described as
Madonna was considered both a
Her "knowledge" was commented on by various during the height of her career. In 2000, American Photo's editor-in-chief, David Schonauer commented she is perhaps "one of the most visually savvy humans on earth".[37] From John A. Walker to Vince Aletti, critics remarked her "knowledgeable" and references of photography.[10][38] In his Madonna biography, Andrew Morton commented that her "stunning visual sense" is no accident as she "spent a lifetime" studying photographs, black-and-white movies and paintings.[39] In 1994, Richard R. Burt cites a reporter who saw her as an "astute if untrained art critic".[40] Los Angeles Times critic Patrick Goldstein once commented about her attendance at "Degenerate Art" (1991) held in Los Angeles County Museum of Art, "she's savvy enough" but her "interests are largely visual".[41] Madonna herself, declared that her primarily interest in art are "suffering, and irony and a certain bizarre sense of humour".[10]
Influences for Madonna
Madonna is reported to be often inspired by the visual artists
A number of observers have commented about specific artists. Scholar
Walker commented that Picasso was a precedent for Madonna's reinventions, as he was an artist who changed his style a number of times.[10] Madonna herself stated in 2015: "I like to compare myself to other kinds of artists, like Picasso". She also commented that believes there is not a time or expiration date for being creative. Like Picasso, she adds, "he kept painting and painting until the day he died".[50]
Collaborations with artists
Since her debut, she has worked with various visual artists. For instance, her friend Martin Burgoyne designed the cover art of "Burning Up" (1983), which featured a grid of twenty postage stamp-sized portraits of Madonna in every color of the rainbow,[51] while graffiti artist Michael Stewart appeared as a dancer in her debut music video "Everybody".[52] Her brother Christopher Ciccone also collaborated with her in her early career, including as the art director of her 1990's tours.[53]
Street artist Mr. Brainwash entered the music scene when Madonna commissioned him to design the cover art of Celebration, its video compilation, and a special edition vinyl.[54] In 2017, Madonna invited Brazilian street artist Eduardo Kobra to paint two murals at the Mercy James Institute for Pediatric Surgery and Intensive Care.[55] Brazilian visual artist Aldo Diaz was hired by Madonna for work on different projects, starting with the single "Bitch I'm Madonna" in 2015 and continuing through her official calendar of 2018.[56] She also forged collaborative friendship with fine-art, portrait and fashion photographers.
Footprints in the art scene
Within the
collectoras she is for her music.
—Lani Seelinger from The Culture Trip (2016).[57]
Madonna has made several appearances on the art scene. In this regard, Kriston Capps from New York magazine said that she "has arguably been edging around the corners of contemporary art her entire career".[58] In 2016, Rain Embuscado from Artnet commented that she "has always had a hand in the art world".[59]
British art historian, John A. Walker documented her life and career from the perspective of the arts in the early 2000s.[10] In 1990, the arts-based BBC1 series Omnibus broadcast a profile on Madonna, which was watched by 7.7 million people; slightly higher than the average audience of 3.1 million.[60]
Activities and contributions
In 2001, she presented the Turner Prize at Tate Britain in London, receiving positive comments from BBC's art correspondent, Rosie Millard.[61] It was called as "a rare marriage of pop and art" by The Independent.[62] British linguistic Roy Harris called her appearance a merger between art and showbiz.[63] In 2014, she presented The Wall Street Journal's Innovation Award at MoMA to her former dancer, Charles Riley for his contributions to the performing arts.[64] In 2017, she was the special guest with visual artist Marilyn Minter at A Year of Yes: Reimagining Feminism at the Brooklyn Museum in its special segment Brooklyn Talks: Madonna x Marilyn where both addressed topics of art and culture. The event was moderated by Anne Pasternak, Elizabeth Alexander, Shelby White and Leon Levy.[65]
Alex Greenberger from
In 2013, Madonna co-initiated "
In 2022, along with digital artist
Art exhibitions
Madonna "has quietly sponsored many [art] exhibitions over the years", wrote Máire Ní Fhlathúin in The Legacy of Colonialism (1998), while her then art adviser, said she "doesn't want or need the press for everything she does".[78]
In 1992, Madonna sponsored the first
She has visited numerous museums, including various attendances at MoMA launch parties,[42] and at Tate galleries while she lived in the United Kingdom.[86] For the latter museum, she lent Kahlo's Self-Portrait with Monkey at Tate Modern, which was the first British exhibition dedicated to Frida Kahlo.[87][88] The decision to loan the painting only came after several weeks of negotiation, which was partly delayed due the September 11 attacks.[87][86] Commenting on the loan, Madonna felt "the exhibit would not be complete without" that painting.[87]
Art collecting
Madonna is an
Her collection is based primarily on modernists,[91] and include over 300 pieces of artists such as Salvador Dalí, Pablo Picasso, Fernand Léger and Frida Kahlo.[90][67] She also acquired works by Old Masters, including Italian painter Master of 1310.[21] Austin Scaggs asked Madonna if she has paintings of her friends Warhol and Haring and her former boyfriend Basquiat; "Have a few of each", she replied.[16] During an interview with Howard Stern in 2015, she explained why she didn't have various of the paintings Basquiat had given her during their relationship.[94] In 2021, she posted a series of photos of herself at home with a Basquiat drawing of her portrait.[95] Madonna also collects artistic portrait pictures. In the 1990s, she paid $165,000 for Modotti's Roses then the highest price ever commanded by a print at auction.[81][96]
Art supporter
The works Untitled (1985) by American painter
During the Rebel Heart era, she invited her fandom through an online contest to create fan art to display in backdrop videos for her Rebel Heart Tour.[105] Some of the artworks became part of an art exhibition in Italy at the Palazzo Saluzzo di Paesana titled Iconic – Portraits & Artwork inspired by The Queen with 50 pieces from 20 international artists and chosen by Madonna.[106] In Life with My Sister Madonna, her brother also recognized how she encouraged him, while also lent him $200,000 to buy a studio where he began to paint regularly.[107][89] Before his identity was revealed, she showed support to "Rhed" (Rocco Ciccone), her son with British filmmaker Guy Ritchie.[108] Once his identity was revealed, in 2022, art critic Jonathan Jones made the suggestion "that the artist had been put into the public eye too soon".[108]
Art for charity
She has used art for charity. A canvas painting by Madonna went to a charity auction in 1991, and was bought by actor Jason Hervey.[109] She hosted a family art sale with two of her children to raise money for victims of the 2020 Beirut explosion.[110] In 2022, Madonna and Anthony Vaccarello curated and organized Sex by Madonna at Art Basel from November 29 to December 4, a free-pass pop-up exhibition honoring the 30 years of her first book Sex.[111] A re-edition of 800 copies was released with the proceeds going to her charitable organization Raising Malawi.[112][113] When her project "Art for Freedom" was operating, she donated $10,000 each month to a nonprofit organization of a featured artist's choice.[114][67] Her NFT project with "Beeple" generated primary auction sales volume of $612,000, destined to three charities picked by the pair.[76]
In 2013, Madonna sold Three Women at the Red Table (1921) by Fernand Léger which she bought in 1990 for $3.4 million, raising $7.2 million. This was in support of female education through her Ray of Light Foundation.[115] The action was reportedly a combination of her passions for art and education, with Madonna declaring: "I want to trade something valuable for something invaluable – Educating Girls!".[116] In 2016, during her Madonna: Tears of a Clown at Art Basel, Miami she held an art auction to benefit Raising Malawi and art and education initiatives. She auctioned pieces of artists such as Damien Hirst and Tracey Emin. Combined with other personal belongings, she raised more than $7.5 million.[117][118]
Controversies
Madonna has been reported to use shock art/value, and supports artists whom push the "barriers of social norms".[120] Around 2012, during her stance on the arrest of Pussy Riot in Russia, she stated "art should be political", and in her understanding, "art, historically speaking, always reflects what's going on socially".[121] The title of her album Rebel Heart (2015) explores her belief that contemporary music artists are not encouraged or inspired to be "rebellious": take risks or speak-up.[122]
Madonna created controversy when she presented the Turner Prize in 2001 to Martin Creed and told the audience: "Right on, motherfuckers— everyone is a winner!". In Is Art History Global? (2013), art historian James Elkins quotes Glyn Davis by saying on the event: "It would, of course, be inappropriate to see this as a radical intervention in art historical discourse. However, the clash of Nicholas Serota and pop icon Madonna produces its own pleasurable frisson; seeing a woman talk about art on television remains a rare sight, and it always to be welcome".[123] British art historian Julian Stallabrass was convinced that the intention without doubt of having Madonna announce the Tate's Turner Prize, was to raise the profile of the event further. However, Stallabrass stated that the effect and the art displayed took on the role of more or less interesting diversions to the main spectacle of the "singer's publicity-hungry misbehaviour".[124] Madonna's NFT videos produced along with "Beeple", received criticism from art critics like Ben Davis for her fully nude digitalized 3D character, while giving birth to butterflies, trees, and insects such as robotic centipedes through an actual scan of her genitals.[76][75] She defended the project by saying: "I'm doing what women have been doing since the beginning of time, which is giving birth. But on a more existential level, I'm giving birth to art & creativity & we would be lost without both".[125]
After allegedly refusing to loan a painting by Frida Kahlo to the Detroit Institute of Arts, she garnered some criticism.[126] However, cultural critic Vince Carducci in one conclusion said that "my suspicion is that the request never bubbled up to her".[127] Art journalist Lindsay Pollock openly questioned her after Andreas Gursky's work originally given to her as a gift was subsequently sold at Sotheby's.[128] In January 2023, Brigitte Fouré, major of French city Amiens asked her to lend Jérôme-Martin Langlois's lost painting Diana and Endymion to the city, as it may be in her private collection. Thinking of Madonna as the possible owner, Fouré believes the singer obtained the artwork without permission, by saying "Clearly, we don't contest in any way that you have acquired this work legally".[129][130]
Performing arts and artistic production
Madonna's performances are art, after all—art that incorporates a play of sometimes conflicting social and political ideas
—Paul Thom, dean of arts at Australian National University (2000).[131]
The development of her body of work from a creative perspective and her footprints within different performing arts were commented on by different sociologists and commentators,[132] including American poet Jane Miller and editor Mark Watts.[133] Speaking about the critical interest she aroused, author Jason Hanley commented in 2015 that her performances made critics and scholars "stand up" and take note of her sound, style and message.[134]
Rather than a musician, Madonna was considered a
Stage shows
During best part of her career, she attracted significant praise for her stage shows; they were regarded as "organized sequences of events, scripts, known texts and movements".[132] According to author Michael Heatley in 2008, she "always set high standards with her stage shows".[139] Described as tableaux vivants, senior lecturer Ian Inglis said in 2013 that her live performances have been celebrated as "theatrical events", while others deem them "immaculate performances".[140][141] Writing for Slant Magazine in 2015, Sal Cinquemani considered her "the greatest performer of our time", saying she is a "showgirl" with theatrical shows of "narrative storytelling".[142]
Madonna has been credited with helping propel artistic concepts for stage shows and tours in her generation, mainly for mainstream pop music shows. Some pointed out, how she divided into "thematic categories" her concerts in unusual forms.[143] In William Baker's words, the splitting of sections derived that pretty much everyone copies or everyone is inspired by,[144] and further mentioned "the modern pop concert experience was created by Madonna really".[144] Lester Brathwaite from Logo TV, said she "transformed the concept of a rock concert from a mere live show into true performance art".[145] Scholars and journalists, including Berrin Yanıkkaya and Matt Cain, detailed how she "paved the way" of extravaganza in concerts as a theatrical spectacle and having the female figure at center stage.[146][147] If a specific title is mentioned, it is generally the Blond Ambition World Tour, for which Jacob Bernstein of The New York Times recognized other contemporary musicians, but with Madonna, he says, she set the tone.[148] Speaking about her perceived influence, in The Twisted Tale of Glam Rock (2010), Stuart Lenig wrote: "Over the decades, Madonna's carefully choreographed and performed shows became a gold standard of pop theatre, inspiring others to re-embrace the stage".[149]
Videos
Her videos were considered not merely commercial productions, but
Dancing
Her role as a dancer also defined best part of her career; according to professor Thomas Harrison of
However, as a dancer, Madonna met mixed responses. In Popular Music and the Politics of Hope (2019) authors observed that she is "routinely dismissed by scholars, critics, and fellow artists alike as someone who 'can't sing and can't dance'".[167] In late twentieth century, critic Lucy Sante called her "a graceless dancer".[168] Others, including Interview magazine staffers in 2011, referred to her as "the best dancer/performer since Michael Jackson".[169]
Madonna's greatness has always hinged on how she channeled dance trends into pop songs [...] which provided a neat way to sneak underground club trends into the mainstream.
—Stephen Thomas Erlewine from Hard Candy's review.[170]
Included among Rolling Stone's poll of the "10 Favorite Dancing Musicians" in 2011, she was credited by the magazine to help bringing many underground dancing or its elements into the mainstream culture.
Acting
Madonna's
Her films such as
Depictions and accolades
According to English writer
Some of her videos were part of art exhibitions, notoriously, "
She has inspired some dance visuals performances. For instance, Singaporean composer, painter and poet,
Artistic reception
Postmodernism
Postmodernism encompasses a variety of approaches and movements, including aesthetics. In the early 2000s, Arthur Asa Berger noted how it was popular in academic circles discussing her within postmodernism and further explains that a "simple way" of thinking about postmodernism is the way in which "our contemporary artists and culture produce art".[207]
She has been estimated both inmediate and retrospectively. Some, including author Shara Rambarran in 2021, labeled her both icon and "Queen of Postmodernism".
Criticisms and ambiguities
Late-twentieth-century perspectives on Madonna engaged some viewers, and some from art and academic communities by discussing low and high culture value in her figure and works.[215] In the early 1990s, three academics conducted a survey by college students, where Madonna was seen as "all artifice and no art" and "as emblematic of the lowest form of aesthetic culture".[216] They compared her art to being "suspicious, because unlike the works of Vincent van Gogh or Henri Matisse, it is readily available for purchase at any record or video store", implying that she did not belong to a high art tradition of selflessness.[216]
Her enormous commercial success is often held against her [...] as evidence that she prostitutes her art (and, by extension, herself).
—Genders, University of Texas Press' journal (1988).[217]
English art critic John Berger noted the criticisms, commenting her work's accessibility to a mass public may have contributed to a decrease in its perceived value.[216] Scholar Douglas Kellner made the suggestion she should be interpreted in both terms, and her works by implication can be read either as works of art or analyzed as "commodities" that shrewdly exploit markets.[218] In 2013, Kriston Capps from New York said Jeff Koons made conspicuous consumption a concern of fine art, but Madonna immortalized it with "Material Girl".[58] Italian art critic Achille Bonito Oliva describes her song as a perfect for a time when art, money and politics were "electronically entwined".[219] Citing three scholars' poll, Simon Frith stated "clearly, pushing Madonna to the bottom rungs of the pop cultural ladder makes a space at the top for pop music 'art'".[220]
Her broadcast profile as an artiste in the arts-based BBC One series Omnibus in 1990, divided some from art community and public of the time, and according to Walker, "letters and articles subsequently appeared in the press both for and against" her.[60] Michael Ignatieff claimed that her conception of art was false.[60] He was quoted as saying, "I certainly don't mind that she is obscene [...] What I can't stand about Madonna is that she thinks she's an artist".[213] Prior that, in 1988, professor of media arts John Ellis questioned the idea of having Madonna in Omnibus.[221]
Through her career, as Dahlia Schweitzer explains in 2019, many critics have long resisted using the words "Madonna" and "artistic" in the same sentence.[222] Back in 2013, Sandra Barneda from the website The Objective, observed that for many "she is far" from art.[223] Michael Love wrote for Paper magazine in 2019, that both her music and visuals "have always been interpreted as 'good' or 'bad' based on what's relevant in the moment".[224]
Some responses
In On Fashion (1994) by scholars
Writing for The New York Times in 1990, music critic Jon Pareles invited the audience to see her as a "continuous multi-media art project".[230] Years later, in 2002, Black Belt editor Sara Fogan mentioned she "challenges herself as an artist",[231] and by 2022, Italian academics from the University of Macerata considered her an artist of a "hypertrophic system of signs and symbols bound to the worlds of spectacle, art, music, cinema and fashion".[132] Writing for The Observer in 2023, O'Brien referred to her as "one of the most vivid, confrontational and imaginative female artists in the music industry".[232]
Further recognition
In 1996, music critic
In the mid-2010s, Madonna classified herself as an artist and not a "pop act",[237] while during the program of Council of Fashion Designers of America in 1992, she stated being a good artist "it's about taking chances" rather than being "powerful" or "rich".[238] During this decade, she was also quoted as saying: "I am my own experiment. I am my own work of art".[239] Writing for Interview in 2014, American illusionist David Blaine suggested that perhaps she "is herself her own greatest work of art—something so vastly influential as to be unfathomable".[17] In 1997, May considered her a gesamtkunstwerk becoming a work of pop-art herself.[32] In 2008, Scottish music blogger Alan McGee proposes that she is "post-modern art, the likes of which we will never see again".[240]
Impact
According to Stephanie Eckardt from
A number of publications, authors and editors have discussed how Madonna helped influence the link between art and pop stage. Some noted how she brought art from the streets into the mainstream.
On other artists
Regarding inspirations Madonna took from plastic artists, music journalist Ricardo Pineda in a conversation with news agency
Different media reports have shown her influence on other lesser-known artists, and from the underground scene. In terms of influence, the Greek Reporter said that Greek graffiti artist George Callas has a "creative obsession" with her.[101] Brazilian visual artist, Aldo Diaz, who also collaborated with her, talked about Madonna's influence for him to the point he began to study photography, arts and became a graphic designer.[56] Most of them have depicted Madonna.
Impact on Frida Kahlo mania
Madonna attracted media headlines when she revealed her interest in Frida Kahlo during the late 20th-century; Kahlo was considered to be a relatively lesser-known figure on the international stage outside the arts. Andrew Morton reflected: "How many pop singers have ever heard of Frida Kahlo?".[39] In 1993, Janis Bergman-Carton published in Texas Studies in Literature and Language an article that examined how "both women have become part of standard journalistic reportage", with mutual benefit, but also reminds the "interpenetration of the domains of art and celebrityhood has a lengthy history in Western culture, dating back to the Renaissance".[254]
Some credited Madonna's significant role for developing public's interest in Kahlo. In 2005, The Daily Telegraph staffers credited her with transforming Kahlo into a "collector's darling".[255] Walker also argued that partly due to her, the Mexican painter became a posthumous celebrity not only in the domain of art history but also in popular culture.[10] In 2005, Canadian author and art historian Gauvin Alexander Bailey also concurred she helped spark a "wide interest" in the artist.[256] Back in 1993, historian Hayden Herrera added the mention of Madonna sets the tone for the entire piece.[257] In 1991, magazine Artes de México also referred to the importance of her in the "Fridomania cult".[258] Anthropologist Néstor García Canclini (sic) "Madonna's role in the Kahlo cult is pleasantly exciting".[100] According to El Sol de Tampico, Madonna drew media attention to Alejandro Gómez Arias, a former Kahlo boyfriend.[259]
Artistic depictions
Madonna has been depicted by various artists around the world, including those who were
Others depicted her multiple times. Scottish painter
In 2019, Spanish plastic artist
Art exhibitions and museums depictions
Her likeness has been exhibited in museums,[270] and other exhibitions. In honor of Madonna, Johnnie Walker organized the art exposition Arte urbana – Projeto Keep Walking Brazil in 2012. It featured works by 30 different graffiti artists.[271] The same year, a Colombian art exhibition was presented at EAFIT University's arts centre, under the title Como una oración (in English: Like a Prayer), to show the Madonnas of pop artist Javier Restrepo, and demonstrating how "Madonna's universality" touched the plastic arts.[272][273]
In 2013, the Guayaquil Municipal Museum hosted a multidisciplinary exhibition, titled Madonna: Ícono cultural-arte, moda y filatelia exploring her impact and references in art, fashion, philately and numismatics.[274] In 2017, Lea & Flò Palace hosted the Italian contemporary art exhibition Thank you Madonna – I miei sogni in technicolors.[275] In 2023-2024, the Canberra Museum and Gallery hosted the Madonna 40: A Celebration, a career retrospective,[276] including screening of film Desperately Seeking Susan.[277]
Madonna was included in other different thematic exhibitions. She had a special segment in Alberto Gironella's retrospective of 2004, Alberto Gironella. Barón de Betenebros (Palace of Fine Arts), and in his 1994 display, Más que pop, Madonna es la única surrealista.[278] In 2014, M- de Marilyn à Madonna was on display in Brazil to commemorate Marilyn Monroe's death and Madonna's birthday, both of which occurred in the month of August. It featured 46 artworks of different artists.[279] Madonna was part of the exhibition De Madonna a Madonna (in English: From Madonna to Madonna) installed in countries such as Chile (Centro Cultural Matucana 100), Spain (MUSAC) and Argentina (Juan B. Castagnino Fine Arts Museum) to approach the role of women throughout history.[280]
Sculptures
Around 1988, in the town of Pacentro, Italy (the city of her paternal grandparents) some residents proposed putting up a 13-foot statue of a bustier-wearing Madonna, hoping as much to attract tourists as to bestow honorary citizenship on its "most famous descendant", but the proposal was vetoed by the mayor and others.[281] The Italian sculptor Walter Pugni, who planned to erect the bronze statue, showed a 2-foot clay model to the media.[282] In 1993, Brazilian plastic artist Nico Rocha, created a 2.3-foot statue of her to commemorate her 10-year career and her first visit to Brazil.[283]
She is represented through various wax sculptures internationally, including France's Musée Grévin.[284] Several wax figures of Madonna are found at Madame Tussauds in the U.S. and around the world.[285] In 1999, Estonian outlet Sõnumileht ranked a Madonna's wax figure at number third, on their best-of list of Tussauds' wax sculptures.[286] In the mid-2010s, Madame Tussauds Sydney launched simultaneously three different Madonna's wax statues, making the first time they revealed that amount of one female performer in their history according to themselves.[287]
Selected artistic depictions
-
Madonna by Paul Harvey
-
Nathan Wyburn elaborating a toast portrait of Madonna
-
Life is Beautiful by Mr. Brainwash
-
Madonna's wheatpastes by Adam Cost
-
100 Faces of the Tenerife Auditorium by Bulgarian artist Stojko Gagamov
-
Madonna represented in Art boxes
See also
References
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External links
- Madonna at The British Museum
- Madonna at National Portrait Gallery, London
- Madonna at Detroit Historical Museum
- Madonna at Victoria and Albert Museum
- "Mother of Creation" series at SuperRare
Further reading
- Madonna, no sweat — Govett-Brewster Art Gallery (1993, pp 9–10 by artist Ruth Watson)