It's me!

Pier 1 imports.

But a chef? A whitehatted ponce?

He's a... he's clown.

You're like a freakin' onewoman circus, Andie.

He's a dead clown.

With a name like Duchemin that you have a son who's a circus clown?

Listen up, kemosabe.

It was just suppose to be one line, okay? One line!

What are you clowns looking at?

The clown fell down on purpose.

I did the following series of drawings.

They were displayed first at Stux Gallery in 1983.

He looks like Bozo the clown.

You know, there's a lot of people that have a fear of clowns.

Like Jimmy Stewart in The Greatest Show on Earth.

All your units come with a clown? We get the job done.

That's not a smile, that's a jerk face.

Whoops! Passed each other.

I will if you keep up this pathetic spectacle.

Then, are you saying that you're going to acknowledge them doing that?

Hold on a moment. Here we have a clown. A sad clown.

It's scary! Like in a weird way. Not clownscary.

Throw the clowns before they fall and hit the balloons with them

Fiona, if I wanted to look like a clown, I'd join the circus.

When I was little, I was really scared of clowns and I don't want to relapse and have to go back into therapy.

And it was very difficult for me to imagine how to paint pictures that were based on Piero until I realized that I could look at Piero as nature that I would have the same attitude towards looking at Piero della Francesca as I would if I were looking out a window at a tree.

No, Wood, actually I was at Von's.

It's always been one of my top three fears, along with clowns and escalators.

I was asked, I guess about six years ago, to do a series of paintings that in some way would celebrate the birth of Piero della Francesca.

When the little boy saw the clown, the cat got his tongue.

You, me and the gimp over there, we gonna run this place?

It's better than your clown's costume. Not a lot better.

The clown's stunts were highly amusing to the boys.

Oh my god, he would be perfect for that.

The other wise men can be identified as Piero and Giovanni de' Medici,

Well, I think the only way I know to do it is to have accumulated the advisers that I have who go from practitioners who can establish through improvisational play or clowning or whatever a state of play.

Persian carpets, the frescoes of Giotto in Padua, and the masterpieces of Poussin, Pierro Della Francesca, and Cezanne have in common?

Every school was a big top circus tent, and the pecking order went from acrobats to lion tamers, from clowns to carnies, all of these miles ahead of who we were.

Perhaps it's not a very insightful observation, but that really started me on a path to be able to do a kind of theme and variations based on a work by Piero, in this case that remarkable painting that's in the Uffizi, The Duke of Montefeltro, who faces his consort, Battista.

That network, his I can network, started when his father, Piero, took his son's paintings to a painter friend named Verrocchio and said, Look at what my son is doing!