Synthesized Mona Lisa by Jean-Pierre Yvaral, 1989, Computer Graphics (Popper 84)

As a corollary to his interests in the relationship between science and artworks, Jean-Pierre Yvaral explored the "mathematical programming of a pictoral surface" through the computer. Yvaral wanted to show that any visual work could be empirically analyzed by breaking the larger form down into their constitutive parts. By accomplishing this cause, Yvaral sought to essentially create "visual phenomena in which figuration and abstraction were no longer in opposition." (Ibid.) As his technique could be applied to any given artwork, Yvaral sought to apply the rules and order of "numerical analysis" to normalize art.

For the twelve visual studies comprising Synthesized Mona Lisa, Yvaral divides the upper half of the Mona Lisa into a checkerboard pattern of units that mimic the uniformity of computer pixels. In doing so, he demonstrates that the "strictly geometrical structure makes possible not only the reconstitution of the original image but also the reconstruction of a different image, a different face with the same elements." (Ibid.) For instance, whereas one can gain more precision by looking closely at da Vinci's Mona Lisa, doing so with Yvaral's Synthesized would yield greater distortion due to the inherent property of such geometric breakdown of an artwork.

Moreover, the duplication of Mona Lisa images in different spatial arrangements allows a simultaneous beholding of the piece from multiple angles. However, although the original Mona Lisa received praise for its ability to inspire a variety of interpretations of the figure when viewed from specific angles, Yvaral's Synthesized attempts to minimize mixed interpretations by focusing the figure's eyes on the viewer despite its positioning.

Yvaral's manipulation of the technical capabilities of a computer to provide a unique commentary on an existing piece, much like Duchamp, affords Synthesized the status of being a work of art. Furthermore, the duplication of Mona Lisa images and their subsequent juxtaposition harken to the style of Andy Warhol, the forerunner of the American Pop art movement.

Mona-Leo by Lillian Schwartz, 1986, Modified Photography (Popper 85)

Computer graphics pioneer Lillian Schwartz views the computer as "a far superior tool to photography for an art of appropriation and control of images." (Ibid.) Her Mona-Leo affirms this belief, as the work would not be possible without the computer's ability to juxtapose existing photographs. Here, Schwartz merges photographs of two of Da Vinci's works from the Museum of Modern Art, New York- the Mona Lisa on the left and a self portrait on the right.

By generating this work to demonstrate the "physiognomic similarities" between the two pieces, Schwartz asserts artistic license to direct the viewer to interpret the mysterious identity of the model for Mona Lisa as the painter himself. Schwartz establishes art as capable of adopting a didactic purpose- especially one of interpolated aesthetic, whereby her own work attempts to influence the reception of yet another artwork.

Here again, the artist is able to utilize the technical dimensions of a computer to provide an insightful message about an existing piece. In doing so, Schwartz also comments on the ability of art to teach, particularly about itself.