You notice the translucent characters more, since they appear larger than the soccer players. It gives you a depressed and lonely feeling because the translucent characters have no color. It is as though the characters have died and the brain is already dead. The characters being see through indicates they have lost their color; they have lost their soul. Despite having no color, we can still see them; this could indicate they are about to die and be forgotten. The colors of the soccer players are bold because it shows the drugs have sucked up their soul and are going to take over their life. There are splashes of red and yellow on the polka dots. This could mean that not only is your mind confused, it is also messed up.
The characters are there, but the audience can barely see them, indicating they could be becoming invisible. Notice how the polka dots only cover up the middle section and a little bit on the bottom because the artist probably wanted to make sure he was covering up Alice, to show her being curious and confused. Alice is watching the caterpillar smoking. The caterpillar faces away from the audience, possibly ashamed of smoking. The artwork has no symmetry. This shows it is not organized because it is supposed to give you confusion. I looked closely at the background and noticed there are many soccer balls, when you only need to play with one. There are also too many players for the soccer game. This is another indication of your brain on drugs with the side effect of having hallucinations and seeing things more than once. Polke used polka dots. This is a pun of the artist’s name. Using the polka dots is a reference to Sigmar Polke’s use of the media and raster dots. The illustrations of the Alice in Wonderland characters are taken from the illustrations by Sir John Tenniel, which were used in Lewis Carroll’s 1865 Alice in Wonderland.
I feel like there is no true geometric form; even the panels do not look evenly rectangular. The only thing that looks like a perfect shape would be a sphere (the soccer ball). The audience cannot see all of the faces clearly and cannot see their emotion. Since they are hiding their faces, they are probably depressed from taking drugs. The caterpillar is the one taking the drugs. He merely sits, indicating drugs will make everyone lazy. Alice is the bystander, looking up at the caterpillar, wondering if she should try the drugs too.
There are no fixed meanings of Sigmar Polke having layers on the image; it shows too many situations. The audience can only interpret what Sigmar Polke is trying to tell us. The picture is showing me if we watch too much television, the mind is going to have a lot of hallucinations between reality and fiction. The Alice in Wonderland characters do not have enough light as the soccer players. The position of the characters are all different. Alice is standing, the caterpillar is sitting and the soccer players are playing. Do the Alice in Wonderland characters have more attention than the soccer players?
The pose may be jumpy, yet Sigmar Polke is giving everyone a warning. The use of color in the background and the characters being translucent reveal what happens to the life of a person on drugs; their emotions fade. By not showing the people’s facial expressions, there’s an indication they have sold their identity to drugs: they have lost their soul. Alice in Wonderland became quite a humorous visual correspondence using the projection of transparent images onto grounds composed of multiple, contrasting cloths.  Thus, the artwork, with its variations from mixed media, suggests the presence, in fabric, of reality versus fantasy with the mind on drugs.
Carroll, Lewis. Alice in Wonderland. Public Domain, 1898.
Davies, Denny, Hofrichter, Jacobs, Roberts, Simon. Janson’s History of Art . 8th. Edited by Sarah Touborg. Vol. 2. London: Laurence King Publishing , 2016: 1053.
Gintz, Claude. “Polke’s Slow Dissolve.” Art in America, December 1985: 107.
Larking, Matthew. artscape Japan.2006. http://www.dnp.co.jp/artscape/eng/focus/0606_02.html.
Figure 1 Sigmar Polke, Alice in Wonderland. 1971. Mixed Media on fabric strips, 10’6”x 8’6 Â¾” ( 3.2×1.6m). Private Collection, Cologne 
 Carroll Alice in Wonderland Public Domain 1898
 Davies, Denny, Hofrichter, Jacobs, Roberts and Simon, Janson’s History of Art (Laurence King Publishing, 2016), 1053.
 Claude Gintz , “Polke’s Slow Dissolve,” Art in America, December 1985, 107.
 paintersonpaintings. files. wordpress
Art in the Victorian Era | Analysis of Styles
The Victorian era was an age of peace and prosperity in Great Britain.
The Victorian style is developed mainly in Great Britain during the reign of Queen Victoria, who became queen at the age of 18 years old. This movement takes place during the peak of the Industrial Revolution, in this moment, the science, as well as every other aspect of the society, were suffering big changes, with technological advances and a loss on the moral and religious values. This brought a search of rising the social dignity and tried to integrate all the arts in this harmonious and beautiful environment. The Victorian Era begins in 1837 and ends by the beginning of the 20th Century.
The Victorian art is eclectic, it gathers the best of other styles, coming back to the Medieval. It uses richly ornamented objects and it has a taste for the naturalist inspired motifs, with great excess and saturation on the forms. A great interest for the daily spaces emerges, specially the dining room, for being a meeting point. The medieval themes are frequently used, full of knights and damsels, and comes back to the representation of religious scenes.
Regarding to the painting, the Victorian era is a cult to the classical beauty, to counter the ugly modern world, result of an industrial revolution, where several topics are used, from the religious to the historical, and where the representation of women is recurrent.
During the Victorian era, several artists tried to imitate the big former artists, previous the Industrial Revolution. The pre-Raphaelite movement is one of the most important of this period, formed by Dante Gabriel Rosetti, William Holman Hunt and John Everett Millais, mainly. The pre-Raphaelite tried to fight the teaching on the academies, and all the bad that the Industrial Revolution brought, wanting to recover a more spontaneous art, searching for inspiration on the natural, looking up to the big Reinassance artists. The Lady of Shalott, painted in 1888 by John William Waterhouse is a representative painting of this time. This oil on canvas is held nowadays at the Tate in London. This painting tells the story of Elena, the lady of Shalott, who was confined in a tower where she wove day and night. One day, a whisper announced that a terrible curse will await her if she ever looked at Camelot. In this painting we see Elena in a boat on her way to Camelot. The artist shows us a defenceless young lady, wearing a white tunic. She seems exhausted, a woman who has assumed her faith and her death, with a lost gaze and her arms lay in a surrender position. In the boat, Elena is carrying some of her fabrics, in these fabrics we can observe the adventures of the Knights of the Round Table, as well as the love she feels for Lancelot. The English landscape on the background is reduced to simple strokes. The rich colours and details are used to highlight the central figure. Waterhouse gives importance to the atmosphere, giving less importance to the design. It is a composition of isolation and despair. Waterhouse creates a balance in the composition by opposing the pale figure of the woman on one side of the painting with the horizon on the other. He uses warm and autumnal colours, maybe as a symbolism of Elena’s imminent death. Waterhouse captures a sense of sorrow, giving Elena a bewildered look, a woman with no control in her life, a possible nod to the political power of women at the time.
Victorian society was especially harsh on its female subjects, particularly regarding issues of sexuality and chastity. For instance, Augustus Egg’s oil, Misfortune, caused a big shock when it was shown for the first time in 1858 at the Royal Academy. This painting is part of a triptych, which tells us the story of an infidelity and the consequences it had for a woman at the time. The subject of this painting was not only controversial but contemporary and topical. The scene happens in the living room, the husband is holding a letter, evidence of his wife’s affair. He is looking to his wife, who is laying on the floor, she is wearing two bracelets in both arms that seem like handcuffs, maybe a symbolism of what the marriage supposed to her. There is religious symbolism as well, there is an apple cut in two, placed in two different spheres of the painting, one half on the floor next to the mother, and the other half by the knife on the table next to the father. On the left side of the painting, we see the two children playing with cards, they built a tower which is falling apart, symbolism of the marriage of their parents, only the big sister seems to acknowledge what is happening. We can also see a novel of Balzac at the base of the girls, as well as four small significant paintings on the wall, Adam and Eve expelled from the paradise hanging over the wife’s portrait, and one of a shipwreck hanging over the husband’s portrait. We can observe a pair of scissors on the table, maybe as a symbolism for the break up. The brushwork is precise, paying attention to the details. Dark colours are predominant in this painting, and the light comes from the left side of the painting, tenuously enlightening the room. Augustus Egg represents the deception of the fallen women, which became almost a trademark of the Victorian period, ex.: The Awakening Conscience by William Holman Hunt, in which we find similitudes such as the mirror in both scenes. The mirror in Egg’s painting shows us an open door, through which the mother will soon leave. The mirror gives a sensation of depth by showing us the rest of the room.
The Victorian era can be summed up in a series of changes caused by the Industrial Revolution. For many people this period represented a step back of all what had been achieved by the time, that will take artists to romanticize previous times, when everything seemed to be simpler, it was a fight against the progress and the unknown, marked by artistic tendencies which searched for a balance between the what it is beautiful and the new, resulting in a greater richness on the design. These two paintings are a representation of the artistic movement during the Victorian era. They both use recurring topics of the period.
Rosenblum, R. Modern Painting and the Northern Romantic Tradition: Friederich to Rothko, Icon (Harpe), 1977.
Rothenstein, J. Moder English Painters, Arrow Books, 1962.
Treble, R. “London: Victorian Paintings.” The Burlington Magazine 122, no. 925 (1980): 274-77.