12 Andy Warhol Marilyn Monroe 1967 portfolio of screenprints on paper, in 10 parts each 36 x 36 in. (91.4 x 91.4 cm) Initialed and stamp numbered on the reverse; further numbered on the reverse A124.086, A130.086 - 138.086. Published by Factory Additions, New York. This work is comprised of 7 prints number 62 and 3 prints number 137 from an edition of 250 plus 26 artist proofs. Includes original corrugated portfolio box.
Provenance Galerie Ileana Sonnabend, Paris Collection of Micheline & Claude Renard Christie’s, London, Post-War and Contemporary Art Evening Sale, February 8, 2006, lot 46 Private Collection, New York Private Collection Literature F. Feldman and J. Schellmann, Andy Warhol Prints: A Catalogue Raisonné 1962-1967, 4th ed., New York: Distributed Art Publishers Inc. and The Andy Warhol Foundation for the Visual Arts Inc., 2003, cat. no. 11.22-31, pp. 68-69 (illustrated) A. Warhol, G. Mercurio, D. Morera, The Andy Warhol Show, Milan: Skira: London: Thames & Hudson, 2005, pp. 88-89 (illustrated) C. Heinrich T Sokolowski, et al., Andy Warhol - Photography, New York: Stemmle Publishers, 1999, p. 55 (illustrated) K. McShine (ed.), Andy Warhol A Retrospective, New York: Museum of Modern Art, 1989, . 220 (illustrated) G. Celant (ed.), SuperWarhol, Milan: Skira, 2003, p. 266 (illustrated) Catalogue Essay "I concentrated on a series of Marilyn Monroe She fascinated me as she did the rest of America." Andy Warhol 1966 The relationship between an artist and muse is sacred. Its roots tracing back to Greek mythology, the muse has been enshrined in Western culture as the most primal force of creation. Even the most secular of artists have given credence to the concept of the muse as a spirit of inspiration. Andy Warhol’s own muse, the singular force behind his next thirty years of artistic production, came in the form of an iconic movie star, a woman both beautiful and tragic—the two staples of Andy Warhol’s early work. Though he was nearly silent when it came to his reasons for artistic production, Warhol famously remarked that he need not comment upon his work, for on the surface of his work is where he resides. Following his wish and endeavoring to examine his oeuvre for clues as to his beliefs and aims as an artist, the viewer can find no more definitive answer than Marilyn Monroe Though Monroe and Warhol never exchanged a single word or glance, their relationship seems natural—fated, even. She embodied the purity of celebrity and beauty that Warhol so admired, and, though he never painted her until after her death, he came to be her most capable and skilled portraitist. With her sultry stare and charming smile, Marilyn Monroe was the epitome of American glamour in the 1950s and early 60s. Idolized and emulated, her whirlwind life was only trumped by her tragic and premature demise in 1962. Her death represented a certain loss of American innocence and its impact was felt around the world. When Andy Warhol decided to create a series in her honor, he moved away from his gilded stylized drawings of the 1950s and worked instead with his newly found silkscreen techniques that he had previously used for his Coke Bottle and Dollar Bills series. Warhol's first Marilyn Monroe series in 1962 represented a dynamic shift in the artist's style and career, as he moved farther away from his 1950s illustrating roots, towards the bold and visually striking multiples of celebrities that characterized his career in the early 1960s. Warhol used as his original image of Monroe a publicity still from her 1953 movie, Niagara. Taken nine years before the screen idol’s death on August 5, 1962, the image is the quintessential portrayal of Monroe during her meteoric rise to fame: lips suggestively parted, eyes sensuously relaxed, hair styled to perfection. The image showcases the star’s perfect facial structure and unabashed embrace of her own sexuality and powers of seduction. Warhol’s choice of this particular publicity still hit a tragic note when his first Marilyns went on display in Castelli Gallery in 1962, shortly after Monroe’s very public and tragic death; many spectators wept at the face before them, which bore the innocence of the 27-year old’s early career, far before the price of fame and illness took their fatal toll. Warhol ultimately preserved Marilyn Monroe’s beauty in an idealized state, one that would give her equal fame after her death. Warho
12 Andy Warhol Marilyn Monroe 1967 portfolio of screenprints on paper, in 10 parts each 36 x 36 in. (91.4 x 91.4 cm) Initialed and stamp numbered on the reverse; further numbered on the reverse A124.086, A130.086 - 138.086. Published by Factory Additions, New York. This work is comprised of 7 prints number 62 and 3 prints number 137 from an edition of 250 plus 26 artist proofs. Includes original corrugated portfolio box.
Provenance Galerie Ileana Sonnabend, Paris Collection of Micheline & Claude Renard Christie’s, London, Post-War and Contemporary Art Evening Sale, February 8, 2006, lot 46 Private Collection, New York Private Collection Literature F. Feldman and J. Schellmann, Andy Warhol Prints: A Catalogue Raisonné 1962-1967, 4th ed., New York: Distributed Art Publishers Inc. and The Andy Warhol Foundation for the Visual Arts Inc., 2003, cat. no. 11.22-31, pp. 68-69 (illustrated) A. Warhol, G. Mercurio, D. Morera, The Andy Warhol Show, Milan: Skira: London: Thames & Hudson, 2005, pp. 88-89 (illustrated) C. Heinrich T Sokolowski, et al., Andy Warhol - Photography, New York: Stemmle Publishers, 1999, p. 55 (illustrated) K. McShine (ed.), Andy Warhol A Retrospective, New York: Museum of Modern Art, 1989, . 220 (illustrated) G. Celant (ed.), SuperWarhol, Milan: Skira, 2003, p. 266 (illustrated) Catalogue Essay "I concentrated on a series of Marilyn Monroe She fascinated me as she did the rest of America." Andy Warhol 1966 The relationship between an artist and muse is sacred. Its roots tracing back to Greek mythology, the muse has been enshrined in Western culture as the most primal force of creation. Even the most secular of artists have given credence to the concept of the muse as a spirit of inspiration. Andy Warhol’s own muse, the singular force behind his next thirty years of artistic production, came in the form of an iconic movie star, a woman both beautiful and tragic—the two staples of Andy Warhol’s early work. Though he was nearly silent when it came to his reasons for artistic production, Warhol famously remarked that he need not comment upon his work, for on the surface of his work is where he resides. Following his wish and endeavoring to examine his oeuvre for clues as to his beliefs and aims as an artist, the viewer can find no more definitive answer than Marilyn Monroe Though Monroe and Warhol never exchanged a single word or glance, their relationship seems natural—fated, even. She embodied the purity of celebrity and beauty that Warhol so admired, and, though he never painted her until after her death, he came to be her most capable and skilled portraitist. With her sultry stare and charming smile, Marilyn Monroe was the epitome of American glamour in the 1950s and early 60s. Idolized and emulated, her whirlwind life was only trumped by her tragic and premature demise in 1962. Her death represented a certain loss of American innocence and its impact was felt around the world. When Andy Warhol decided to create a series in her honor, he moved away from his gilded stylized drawings of the 1950s and worked instead with his newly found silkscreen techniques that he had previously used for his Coke Bottle and Dollar Bills series. Warhol's first Marilyn Monroe series in 1962 represented a dynamic shift in the artist's style and career, as he moved farther away from his 1950s illustrating roots, towards the bold and visually striking multiples of celebrities that characterized his career in the early 1960s. Warhol used as his original image of Monroe a publicity still from her 1953 movie, Niagara. Taken nine years before the screen idol’s death on August 5, 1962, the image is the quintessential portrayal of Monroe during her meteoric rise to fame: lips suggestively parted, eyes sensuously relaxed, hair styled to perfection. The image showcases the star’s perfect facial structure and unabashed embrace of her own sexuality and powers of seduction. Warhol’s choice of this particular publicity still hit a tragic note when his first Marilyns went on display in Castelli Gallery in 1962, shortly after Monroe’s very public and tragic death; many spectators wept at the face before them, which bore the innocence of the 27-year old’s early career, far before the price of fame and illness took their fatal toll. Warhol ultimately preserved Marilyn Monroe’s beauty in an idealized state, one that would give her equal fame after her death. Warho
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