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30  ANDY WARHOL FOUNDATION FOR VISUAL ARTS, INC. 

v. GOLDSMITH 
KAGAN, J., dissenting 

the whole fair-use test.  Ante, at 24. 

Finally,  back  to  the  visual  arts,  for  while  Warhol  may
have been the master appropriator within that field, he had 
plenty of company; indeed, he worked within an established 
tradition going back centuries (millennia?).  The represent-
atives of three giants of modern art (you may know one for 
his use of comics) describe the tradition as follows: “[T]he 
use  and  reuse  of  existing  imagery”  are  “part  of  art’s  life-
blood”—“not just in workaday practice or fledgling student 
efforts,  but  also  in  the  revolutionary  moments  of  art  his-
tory.”  Brief  for  Robert  Rauschenberg,  Roy  Lichtenstein,
and Joan Mitchell Foundations et al. as Amici Curiae 6. 

Consider  as  one  example  the  reclining  nude.  Probably
the  first  such  figure  in  Renaissance  art  was  Giorgione’s 
Sleeping Venus.  (Note, though, in keeping with the “noth-
ing comes from nothing” theme, that Giorgione apparently
modeled his canvas on a woodcut illustration by Francesco 
Colonna.)  Here is Giorgione’s painting: 

Giorgione, Sleeping Venus, c. 1510, oil on canvas