Each of their work explored the concept of family visually including the underlying themes that they are set against.
In the legend on the catalogue where this painting, Oedipus and Antigone, was listed, Charles Thevenin wrote: “The fugitive proscribed by his son wanders during a violent storm in an arid and savage countryside… His daughter makes a an effort to calm him.” This 18th century work in sepia was a study for a painting that was exhibited at the Salon in 1792. There are several variations to this Sophocles drama. In some paintings, Oedipus is depicted as one on the verge of madness, in some, he was so pathetic and miserable. But, always, there is the dutiful and protective figure, shielding the weakened form from the harshness of the elements.
A look at the faces of the subjects and our knowledge of the history of the tableaux, enable us to see a dimension in family relationship that is characterized by gender conflict and the roles gender play in addressing the dilemma. Oedipus is being guided by her daughter after having been exiled by his son. Thevenin highlighted an important insight: as the father and son engaged in mortal conflict, the daughter remained loyal and duty-bound. The situation saw an undermined paternal authority, which rendered the family unit vulnerable. But most importantly, one sees that the intervention of the female figure to calm the dispute between the two males in the family represented the roles that women generally play in mitigating conflicts within the family. Art explored another treatment for the female form here. In other instance, women are the objects of the struggle between men. In this painting, the other pole is depicted.
Let Us Now Praise Famous Men (Rauschenberg Family) is one of Andy Warhol’s collaboration with fellow Pop artist, Robert Rauschenberg. The art work is a combination of images of the Rauschenberg family and was