Has the Mona Lisa Been Replaced With a Fake?

Debate rages in the art world today after the curator of the Louvre arrived at work this morning and noticed some subtle but significant changes in the museum’s most prized possession. Monsieur Pierre-Jacques Inclement told our reporter…

“It has been less than 24 hours since I last beheld the work in question and I am certain that it did not previously portray a pink cartoon pony! In addition, there is a carelessness in the brush strokes that is not characteristic of the great Lenny. It is my opinion that some time last night some unknown person broke into the Louvre and replaced the Mona Lisa with this cunning but, to the expert eye, suspect reproduction.”

Theodore Babble, a professor of Post-Pre-Post-Structuralist Cultural Studies at Harvard’s School of Postmodernist Sophistry begged to differ, claiming that…

“Of course this is the real Mona Lisa! Any art historian will tell you that the average Renaissance woman bore a striking resemblance to a horse, rather like Celine Dion but without the unbelievably atrocious dancing. No, I am certain that this is the genuine article.”

Famed UK art critic Alasdair Higgenbottom had this to say…

“Not having inspected the work in question I can’t say for certain, but as I recall, La Gioconda did not have as sunny a disposition as the woman depicted in this painting. Nor to my knowledge did she have pink hair, pink hair being an aesthetic innovation bestowed upon the human race only much later. No, this is definitely a fake and should be given to New York’s Museum of Modern Art, perhaps in exchange for all those soup cans printed by that albino jackass whose name I won’t even deign to mention — with any luck the French will throw Albino Boy’s prints into the Seine.”

Ouch!

Less vitriolic in expressing his views was writer and cultural critic Hank “The Gopher” Grosvenor , who stated that…

“Even if the work in question is a fake – and I’m not saying that it is –  it is nonetheless an improvement on the original. Not only is it much brighter and cheerier, but we no longer have to wonder why the woman depicted is smiling – it is obvious, she is smiling because the painter has just offered her a plate full of cupcakes.”

 

 

The Curious Case of Gef The Foul Mouthed Mongoose

Some stories are so out there, so wacked out and weird, that they beggar belief. Into this category must go the case of Gef the Talking Mongoose – mongoose, that’s a sort of weasel, ferret type thing.

(And just so you know I’m not pulling your leg, here’s Gef’s Wikipedia page)

Isle of Man (kinda, sorta part of the U.K) residents James Irving and family first came into contact with Gef in September of 1931 when they saw a small, yellow, ferret-like creature in their farmyard. Not long after, the puzzled family heard strange vocalizations coming from behind the walls of their house – far as I can make out, these walls had two layers, one of brick or stone and then, a few inches in front of that, a layer of wood, and it is in these few inches of space that Gef supposedly made his home. Gef soon graduated from blurting out incomprehensible noises to speaking in fully articulated words after the family started reading him nursery rhymes, as you do when you find a talking ferret living behind the walls of your house! At first the reclusive yet attention seeking creature merely repeated what he heard, but being an especially smart mongoose-ferret-weasel he soon learned to converse fluently with the family, and proceeded to tell them that he had been born in India in 1850 and had somehow made his way to the UK, perhaps by cleverly secreting himself in a shipment of curry powder – there is no record of whether or not he told this story with an Indian accent so his country of origin remains debatable.

According to the Irvings, Gef was wont to swear at everyone in a high pitched voice, and some times hurled objects all over the house. He did, however, have his good qualities; for example, he often hunted rabbits and brought them home for Mrs. Irving to cook. He also kept the family entertained by singing to them in what I can only assume was a nice sharp tenor. Apparently Gef’s repertoire included hymns, Spanish folk songs ( he must have stopped there on his way over from India ) and the kind of limericks that would make even Billy Connolly blush. Gef was supposedly also very fond of performing a song called Carolina Moon, though I find this last claim hard to take as I  looked around YouTube and couldn’t find any videos of Gef performing this particular number. The only one I could find performing it was some 1920s chick called Annette Hanshaw, who I must admit does sound a bit like a weasel but has no noticeable Indian accent.

When not holding discussions or musical soirees at the Irving farm, Gef was fond of hanging around the local bus depot, where he would spy on the workers, yell insults at them, then run away giggling evilly. Not happy with limiting himself to insult, Gef also developed a habit of stealing sandwiches from the workers’ lunchboxes. Apart from pilfered sandwiches, Gef was also partial to chocolate, bananas and sausages, though these latter items he obtained honestly from the Irving family in exchange for his services as singer, raconteur and provedore of dead bunnies.

This unlikely situation went on for several years and drew hordes of journalists and photographers to the Isle of Man, but in spite of all the attention and several years of Gef-mania no photos of any value were ever produced. The only physical evidence presented was some hair, and some paw prints and bite marks on plasticine. A naturalist ( I think that’s one of those people who likes to play volleyball naked ) by the name of F.Martin Duncan examined the fur and found it to be not only dog hair, but exactly the same kind of dog hair one would expect from a sheepdog, which, funnily enough, was exactly the kind of dog that the family owned! The paw prints were also rather suspect, with Duncan declaring that they were probably fake as they did not bear the usual folds and creases to be found in animal skin – and if there is one thing this deranged exhibitionist would know about it is skin, so I, for one, must take his word for it. The bite marks were not identifiable, though Duncan did think them definitely not those of a mongoose and possibly those of a dog. This anomaly can, however, be explained through yet another of Gef’s talents – shape shifting. According to Mr. Irving, he once saw a creature resembling a large cat with tiger-like stripes in his yard, and when he mentioned this to Gef the latter informed him that what he had seen was none other than Gef himself (though I am more inclined to think it a sighting of that rare creature, the orange tabby) And if Gef could change into a Garfield look-alike, why not a dog? Or an armadillo, for that matter?

The occasional outsider aside, the only people who ever actually saw Gef were Irving, his wife and his daughters, and even though some photographs exist most of them seem to show something that doesn’t really resemble any animal such as a yellow weasel, more like a lump of fur. Though for the most part weaselly, Gef reportedly had human like hands and feet, neither of which are seen in any of the following photographs…

In this one, all I can see is a bunch of weeds, or junk of some sort, but word has it that buried somewhere in the midst of all that is a certain famous mongoose…

 

This one is the best of a poor lot, but while it looks like an animal of some sort, I can’t help notice that it seems to have at least two colors in its fur and is lacking the human hands…

And here we have a photo of one of the Irving daughters, the unfortunately named Voirrey, standing in front of the farmhouse. You will notice that conspicuous by his absence is a certain small, yellow-haired, Indian gentleman.

Here’s another of young Voirrey. I don’t know why she’s looking into the lamp – perhaps when not hanging out between walls Gef hung out inside lamps!

 

There are theories as to what was going on, and one states that the women of the family didn’t much like being stuck out in the sticks and fabricated the entire thing in order to have an excuse to go back to civilization proper, and the daughter most involved in all this, Voirrey, was reputed to be adept at ventriloquism. The father must have had some involvement, though, as he claimed to have seen the creature many times and even felt it grip his fingers in its tiny, human-like hands. In fact, dad kept a diary on the entire thing and was without a doubt the greatest recipient of attention from the whole thing, though Voirrey also got her share of media attention. Eventually, though, the family got sick of all the attention brought down upon them by their famous lodger and decided to sell the farm. The trigger-happy jerk who bought the place later claimed to have shot and killed Gef, though Voirrey examined the body and said that, whatever it was, it was definitely not The Ferret Formerly Known As Gef.

So what was this Gef, this weasel-ferret-mongoose thing that swore like a sailor and sang like an angel? A strange, one-off freak of nature? A poltergeist? The ghost of a lost Indian tourist? Does a clue lie in the fact that when James Irving became ill Gef’s appearances became rare and when he finally died they ceased altogether? Does young Voirrey’s supposed skill with ventriloquism have any bearing on all this? Hell, I don’t know, but if I’m ever in the Isle of Man I’ll be keeping a close eye on my sandwiches – but only in case someone steals them and then blames the entire thing on a certain walking, talking, singing, 1930s sensation called Gef.

A Glance Askance At John Waterhouse

One of several individuals upon which I have, over the years, bestowed the title of “My Favorite Painter,” John Waterhouse was a 19th century Pre-Raphaelite who came along after the Pre-Raphaelite thing was pretty much over – you might say he was a Post-Pre-Raphaelite. Waterhouse is today best remembered for dozens of stunning works featuring subjects from Greek mythology and Arthurian legend, as well as for his 1863 attempt to climb Ben Nevis while reciting the complete works of W.B Yeats – an attempt doomed to failure from its very inception by the fact that W.B Yeats had not yet been born.


This painting is called Circe Invidiosa, which is Latin for “Pissed-Off Witch Woman.” Here Waterhouse depicts the revenge of the witch Circe after her boyfriend is stolen away by a local woman famous for throwing great parties. As revenge, Circe sneaks into one of the woman’s parties and steals the punch bowl, which she can here be seen pouring into the sea. Why there is an octopus at her feet I don’t know. Maybe octopuses are attracted by punch, especially if it’s really good punch – but if so it’s news to me.

Here we have “Echo and Dave,” a couple whose relationship was going swimmingly till Echo (that’s the girl) dropped the poor guy’s mobile phone into a creek after she had discovered several suggestive texts addressed to an unidentified wood nymph. The incident was too much for the relationship to withstand, and not long afterwards Dave took up with one of the local dryads and Echo ran away to the big city where she went to work as a waitress at a Hooters (it wasn’t a very fussy branch of Hooters.)

This one is called “Gather Ye Rosebuds While Ye May,” a title which is pretty self-explanatory, though it must be pointed out that gathering rose buds is a pretty short-sighted thing to do as it prevents one from later gathering actual roses. We mustn’t blame Waterhouse for this foolishness, though, as I am pretty certain he plucked this silly idea from the works of Shakespeare.

Hylas and the Nymphs – one of my favorite Waterhouse works. The women’s faces are just wonderful, though I must admit they look about as intelligent as a finely-polished collection of doorknobs. Like many of Waterhouse’s works, this is based on a story from Greek mythology. The details of the story escape me, but I’m pretty sure it has something to do with a pizza delivery boy being called out to a wild lesbian party of some sort, an idea first developed by Euripides in “Iphigenia Does Dallas” and later used in many low budget movies of salacious intent and dubious artistic merit.

This is a portrait of Mad Jenny Macalister, a 19th century Scotswoman who developed a reputation as a flaming nutter after one day running through Glasgow screaming that she was being persecuted by some sort of small, fairy-like creature. Later it emerged that poor Jenny had in fact been stung by a bee and that she wasn’t mad at all, just a bit of a wuss and rather ignorant as to the actual appearance of the fairy folk. Waterhouse here depicts his subject just moments before she is stung by the bee, who, following Shakespeare’s advice, is gathering pollen while it may. I know you can’t see the bee, but that’s the point – after all, if the bee was visible Jenny wouldn’t have stuck her nose in the flower, would she? Not unless she was very stupid, anyway.

Great colors and brushwork on this depiction of Pandora, a Greek woman who made the mistake of opening a box that she suspected contained the latest batch of her grandmother’s home made chocolate brownies. Unfortunately for not only Pandora but for everyone else, the box actually contained all the evil things in the world – hate, war, famine, disease, bad haircuts, etc. The moral of the story is often taken to be that women shouldn’t be so curious, but I think it more likely to be that women shouldn’t be so damned obsessed with chocolate.

“The Lady of Shallot,” one of several paintings Waterhouse did on this particular character. Based on a Tennyson poem about the unhappy wife of a fishmonger who decides that she must leave their gloomy island home to see the splendors of Camelot. Unfortunately, the poor woman is under a curse and the moment she sets foot in the fabled kingdom she turns into a hat rack. Soon after, her husband finds her for sale at the local markets and takes her home where she turns back into her old, gloomy self. This is one of the few examples of an Arthurian tale with a happy ending, the other being the one in which Lancelot, after a vicious battle, just barely avoids being trapped in a dank, slimy dungeon with a pair of Jehovah’s Witnesses.

This one is “Two Nymphs Finding the Head of Orpheus,” Orpheus was a musician who went down into hell to try to rescue his wife Persephone from the Lord of Hades, Paolino Paperino. The rescue attempt was unsuccessful, as can probably be gathered from our hero’s disembodied head. Actually, Greek mythology is unclear as to how Orpheus met this fate, but the most popular version has it that he was accidentally decapitated by a very large but very stupid farmer who mistook his head for some sort of melon. Like the Lady of Shallot, this tale also has a happy ending. In those days, it was virtually impossible for a person to survive being beheaded, so Orpheus died and his soul was taken to Hades where at last he was reunited with his wife. Legend does not record how the Lord of Hades reacted to finding himself part of such a bizarre love triangle – Lord Paperino was afflicted by a dreadful speech impediment that made him sound like a defective cappuccino machine, so none of Hades’ scribes ever bothered to write down anything he said.

“Miranda” is based on the Shakespeare play “Miranda and the Mysterious Fish”. The titular character is here depicted witnessing a rather picturesque storm and wondering what the hell that big floaty thing is. It later turns out that the big floaty thing is carrying a Prince on his way to the Venetian markets where he intends to buy a jester. After the wrecking of their ship, the Prince and his party are forced to take refuge on Miranda’s island home, where it soon turns out that Miranda’s father , Prepostero, is himself a jester – but not a very funny one. Enraged by the Prince’s rejection of his services, Prepostero orders his housemaid to poison the Prince’s codpiece. Through the intervention of a talking rabbit the plot to poison the codpiece is discovered, and Miranda and the Prince swim to the mainland and move to Cornwall where they open up one of the UK’s most successful Bed and Breakfasts.

“Ulysses and the Angry Chickens” is an illustration done for the famous James Joyce novel of the same name. It depicts a passage in which Leopold Bloom has to cross a river to buy his wife Molly some marshmallows. As usual, Joyce leaves a lot unexplained and we are never told why the river is beset by so many angry chickens. Perhaps the chickens want the marshmallows for themselves, or perhaps the whole thing is merely a misunderstanding and they only want to ask why Bloom is tied to the mast. Unfortunately, as both Joyce and Waterhouse are dead as doornails, we will never know.

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