diagram reducing Cézanne's Still Life with Apple3 to an arrangement of dynamic plane's, remembering that Lichtenstein actually made a painting our of Loran's diagram of the Portrait of Madame Cézanne4 -- called, of course, Portrait of Madame Cézanne. But whether or not the cake tins relate through Loran to Cézanne, the way they sift down like leaves in the air does look forward to Warhol's aluminum floating pillow-balloons of 1966, Clouds. And the still life of Cheese on Board, which occurs as headpiece and tailpiece to the chapter on cheese (187, 196) supplies another case of chunky, wretched, Cézanne-suggestive forms in space.
The Cubist/Egyptian layout of repeated forms, some in absolute elevation, others in plan, with repetitive diagonals, in the illustrations of Tea for a Large Crowd (50) and the various model place settings, would also reward investigation. So would Buffet Parties (692-93), the F-111 of the AVCC, which is also in the tradition of artists' table settings ( Manet, Bonnard, etc.). Warhol is perfectly right, in a way, when he says that his art doesn't have any deep meanings. It is superficial and it is about superficiality. But, as his modest drawings for Amy Vanderbilt show, he gets a lot into his thin varnish of illusion.
POSTSCRIPT ( 1994): While acknowledging this as "the first consideration by an art historian of Warhol's work of this pre-Pop Art period," Patrick S. Smith, Andy Warhol's Art and Films ( Ann Arbor: U.M.I. Research Press, 1986), 35-36, blames me for not