The film begins with a slow cart backwards, as the camera moves away, we discover the stars of the film, surrounded by strange figures woman transformed into chairs and tables.
References with Pop Art and sculpture in particular with Allen Jones of English and American George Segal are explicit.
A rance mechanical
From the same director's statement: "I saw an exhibition of sculpture in which the female figures were exhibited as if they were mobile. From this came the idea of \u200b\u200bthe female figures in fiberglass used as coffee tables in the Milk Bar. Kubrick does not tell, but we know that was just an exhibition of sculpture artist Allen Jones.
Allen Jones (1965)
A rance mechanical From the same director's statement: "I saw an exhibition of sculpture in which the female figures were exhibited as if they were mobile. From this came the idea of \u200b\u200bthe female figures in fiberglass used as coffee tables in the Milk Bar. Kubrick does not tell, but we know that was just an exhibition of sculpture artist Allen Jones.
Allen Jones (1965) 
George Segal (1963-1965)
Another extension is loaded with artistic charm of the apartment of the lady cats.
Here we find strong references to the erotic art. By the failure of plastic (which defines the woman herself: "An important work of art" ), clearly inspired by Brancusi's Princess, the female nudes on the interior walls of the house, many of whom remember the naked Wesselman .
Clockwork Orange 
Constantin Brancusi , Princess (1915)
Clockwork Orange 
Tom Wesselman, Nudes (1966-1967) A curious reference to an artist of the past: Vincent Van Gogh is faithfully quoted by Kubrick, giving the scene the same alienating reality of the painting.
Clockwork Orange
Vincent Van Gogh, The round of prisoners (1890)
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