The greatest where’s Waldo paintings to be
have him the tiniest spot at the very top
in a population of near clones.
After searching everywhere he will be
the last thing you’ll find,
the last thing you’ll see.
Your life will have meaning again
after generations of
searching and playing the game.
In every Picasso there is
a copulating couple
waiting to be discovered.
In Guernica, you won’t find them
above the third eye
of the bull
the neighing horse
and the illuminated light bulb.
In Hitchcock’s Rear Window
the gaze to find that one point
where meaning and murder collide
leads inevitably to the next obsession,
not solved until the end of Vertigo
where the same blonde in the same style
in the same fog and confusion of The Birds
is saved from the murder of crows
by the man she didn’t pull from the ledge.
Freud always makes a background appearance
because Salvador Dali never got paid
for any of the watches he melted.
Picasso never forgave Dali
for the bull’s eye he stole
and sliced with a razor.
If they both looked up at the
tiniest spot at the very top they might
have seen and understood everything.
Freudians have been looking for hidden copulating couples in Picasso for a long time.
Like Trump’s claim of election fraud none have actually been found or verified. But his paintings are deep and big so they have to be there somewhere? At least, that is how the rumor goes.
Dali and Picasso did hate each other and their respective work. The bull’s eye story is just another unproven rumor. The eye sliced in Un Chien Andalou was also reported to be a bull’s eye and not a real human eye.
Rear Window, Vertigo and The Birds were filmed. and released in that order. All three featured blondes and Hitchcock has been rumored to plant Easter Eggs to the other films in both Vertigo and The Birds. Some film scholars treat Vertigo and The Birds as either sequels or prequels of Rear Window.