What Alphonse Allais (1854-1905) lacked in compositional talent he made up in imagination and a wry sense of humor. His Funeral March for the Obsequies of a Deaf Man (1897), for example, is entirely blank.
Allais’ entries in Jules Lévy’s expositions of “Incoherent Art” — dedicated to the works of “people who do not know how to draw” — included a white rectangle titled First Communion of Anemic Young Girls in a Snowstorm. He followed this with a red rectangle titled Tomato Harvest on the Shore of the Red Sea, by Apoplectic Cardinals.
“There was also ‘sculpture’ with the punning title ‘Terre cuite (Pomme de),” writes Steven Moore Whiting in Satie the Bohemian. “Terre cuite by itself means terracotta; with the parenthetical qualifier, the title becomes ‘Baked Potato.'”