Mona Lisa
Today the "Mona Lisa" is considered the most famous painting in the world, but until the 20th century it was simply one among many highly regarded artworks.
Once part of King Francis I of France's collection, the "Mona Lisa" was among the first artworks to be exhibited in Louvre, which became a national museum after the French Revolution. From the 19th century Leonardo began to be revered as a genius and the painting's popularity grew from the mid-19th century when French intelligentsia developed a theme that it was mysterious and a representation of the femme fatale.
The Baedeker guide in 1878 called it "the most celebrated work of Leonardo in the Louvre", but the painting was known more by the intelligentsia than the general public.
The 1911 theft of the "Mona Lisa" and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century it was an object for mass reproduction, merchandising, lampooning and speculation, and was claimed to have been reproduced in "300 paintings and 2,000 advertisements". It has been said that the "Mona Lisa" was regarded as "just another Leonardo until early last century, when the scandal of the painting's theft from the Louvre and subsequent return kept a spotlight on it over several years."
George Pusenkoff
Leonardo da Vincis masterpiece Mona Lisa has become part of our cultural memory and has inspired many artists of the 20th century to create their own works with the painting. George Pusenkoff also dealt with the Mona Lisa. In 1993 he painted his first work with an image of the Mona Lisa. Its title is "said Duchamp". Since then, he has repeatedly worked with the image of Mona Lisa, to an extent as no other artist before him:" For Pusenkoff, the Mona Lisa has become his female alter ego, an iconic representation of his own artistic identity."In 1995 George Pusenkoff was sued by the photographer Helmut Newton because he saw in a work of art by Pusenkoff "Power of Blue" a (unauthorized) derivative work of one of his photographs entitled "Miss Livingstone I, Beverly Hills, 1981". Newton argued that Pusenkoff's artwork resembled his work in its critical components so much that it was plagiarism. The Copyright law of Germany clearly regulates in §24 that an "independent" work created in "Fair use (in German "freie Benutzung") of another's work" may be exploited without the author's permission. Pusenkoff referred to this norm. The court now had to decide whether the picture "Power of Blue" was to be regarded as an adaptation or a "fair use". The black and white photography of Helmut Newton shows a female nude from the front, sitting on a folding chair. The background is white, right and left the surroundings can be seen in outlines. The woman sits with her legs widely spread on the chair, one leg bent so that her genitals are clearly visible, and radiates self-confidence. The woman's face is recognizable and at the edge of the photo a stylized, yet recognizable, environment is visible. George Pusenkoff's work, on the other hand, is colored - in the typical deep blue tone quoted from Yves Klein. The nude itself is recognizable only as a silhouette. A yellow square covers the woman's shame and reaches up to her knee. The yellow square is to be understood as a reminiscence of Kasimir Malevich.