285

ANDY WARHOL Marilyn Monroe.

ANDY WARHOL
Marilyn Monroe.

Color screenprint on cream wove paper, 1967. 912x912 mm; 35 7/8x35 inches. Signed and numbered 110/250 in pencil, verso. Printed by Aetna Silkscreen Products, Inc., New York. Published by Factory Additions, New York. From the same-titled suite. The margins possibly slightly trimmed, very minor scuffs lower left corner and edges, minor skinning verso from 4 previous hinges not affecting the recto.

In 1966 Andy Warhol (1928-1987) announced his "retirement" from painting, having achieved substantial recognition as both a painter and filmmaker. While committing more time to his filmmaking, Warhol established his own printmaking company Factory Additions. Among his company's first projects was Cow of 1966, a screenprinted wallpaper that decorated, from floor to ceiling, the entire Leo Castelli Gallery in New York. One year later, he sought to pursue his interest in serialization and benefit by publishing portfolios that recycled images from his best paintings, yet another affront to the high art world. Among these alternatives in print were Campbell's Soup I and II, Flowers, Electric Chair and the present Marilyn Monroe, which is the earliest.

Further challenging the status quo of the art world, Warhol participated only in part throughout the prints' completion. The production of ten different color screenprints was overseen by Warhol's assistant David Whitney. When extensive proofing was completed, Warhol chose ten proofs from the large selection and then published each of them in an edition of 250. According to Donna de Salvo in "God is in the Details: The Prints of Andy Warhol" (in Andy Warhol Prints: A Catalogue Raisonné 1962-1987, 1997, p. 21): "Whatever Warhol's involvement, or lack of it, these screenprints are the first technically complex prints. Although the Marilyn paintings had been realized in an array of colors [beginning in 1962 after Marilyn Monroe's suicide], these went further: a palette of fiery reds, hot and pale pinks, and other saturated hues transforms Marilyn's face into even more of a fiction than the carefully crafted publicity still [of the 1953 film Niagara] from which it was originally derived."

This multi-colored surface portrays her image in a startlingly lurid manner, presenting Warhol's (perhaps) most famous subject with a frozen, pre-packaged image of Hollywood's greatest personae. The publication of this series certainly attributed to Marilyn's reception years following her death as well as that of even Warhol himself. The intensely private Warhol perhaps said it best: "If you want to know everything about me, just look at the surface of my paintings, it's all there, there's nothing more." The portrayal of Marilyn as a product of mass culture, produced for the public as a consumer item, showcased this print in particular as another step in American Pop Art. By duplicating a photograph known to many, Warhol undermined the uniqueness and authenticity characteristic of traditional portraiture, not just in paint but print as well. Feldman 24.

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November 17, 2011 10:30 AM EST
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