While at the Art Institute of Chicago, I was jarred, and a bit delighted, to see this macabre thing on the wall facing Hopper’s Nighthawks:
Ivan Albright was commissioned to paint this for MGM’s production of Wilde’s The Picture of Dorian Gray (released 1945). Apparently, he painted it over the production period in order to reflect the lead character’s changes.
A closer look:
It’s by no means an appealing painting, but I do like that it’s seen as more than a “mere” movie prop–in fact, it has a long history of exhibitions (including stints in Italy and Germany) as representative of American art. As Albright’s Dorian Gray signifies two mediums–painting and film–it certainly fulfills that role.