25 Andy Warhol Flowers 1964 acrylic, silkscreen ink on canvas 48 x 48 in. (121.9 x 121.9 cm.) Stamped twice with the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts, Inc. along the overlap; further numbered "PA53.012" along the overlap and stretcher bar.
Provenance Andy Warhol Foundation for the Visual Arts, Inc., New York Thomas Ammann Fine Art, Zurich Private Collection Literature N. Frei, G. Prinz (eds.), The Andy Warhol Catalogue Raisonné, Paintings and Sculpture 1964-1969, vol. 02A, New York, 2004, n.p, no. 1318 (illustrated) Catalogue Essay “In the middle of the party, Jim Rosenquist’s wife happened to pluck a carnation from one of the centerpieces. Ethel zeroed in on her and screamed, ‘You put that right back! Those are my flowers!’” ANDY WARHOL 1964 As the most recognizable Pop motif by the artist, and arguably one of the most identifiable paintings in the canon of Western art, Andy Warhol’s Flowers from 1964 is the icon of an era. The broad swath of electric green ground, overlaid with the black screen of grass and other brush, all punctuated by four large, non-specific flowers is at once representational and abstract, sunny and dark, uplifting and somber. First executed in the summer of 1964, the Flowers came during a transitional period within the artist’s life and career. Struck upon almost haphazardly by Warhol at the suggestion of his friend, then curator of the Metropolitan Museum of Art, Henry Geldzahler, the Flowers would inaugurate Warhol’s time at Castelli and symbolize the establishment of Pop as a global phenomenon. Ever since their inception, Warhol’s Flowers have solidified their position as the most iconic of the Pop imagery popularized by the likes of Warhol, Lichtenstein, Oldenburg, and others. Their effervescent beauty has come to be emblematic of the rapidly changing post-war culture and the manner in which it was manifested throughout social, political, and cultural avenues. Unlike the artist's legendary subjects of that period, principally consumerism, celebrity, death and disasters, the Flowers corpus was a significant departure to the more abstract; not only in terms of aesthetic character, but also of philosophical import. While the paintings that immediately preceded the Flowers typically represented narrative fact, recorded through the objectivity of the camera lens and re-contextualized through the artist's impassionate silkscreen, this series re-presents an ultimately quotidian subject devoid of context. There is no story of a spectacular rise to fame or untimely death behind these petals; no self-evident critique of the agents of celebrity culture or the manipulation of collective psychology through the engines of mass-media. Even the Dollar Bills and Campbell's Soup Can pictures that pioneered his concept of endlessly proliferating imagery were wedded to the specific cultural inheritance of the American Dream and consumer culture. With the indeterminate content of the Flowers, Warhol invited, for the first time, a far greater degree of interpretation, questioning and reflection from the spectator, thereby instituting a far grander range of individual subjective responses. Indeed, it is precisely due to the conceptual accessibility of the anti-didactic and egalitarian imagery of the Flowers that it has proliferated as such a potent symbol of an entire artistic movement. In the spring of 1964, Warhol decided to leave the representation of the Stable Gallery and to join that of Leo Castelli, the grand impresario of the Pop Art movement in New York. As epitomized by his presentation of 32 Campbell's Soup Cans at the Ferus Gallery in July 1962, the Elvis show, again at Ferus, in September and October of 1963, the Death paintings at Galerie Ileana Sonnabend in January 1964 and the Brillo Box sculptures at Stable in April 1964, Warhol characteristically preferred to dedicate his gallery exhibitions to a single theme, subject or sequence. The summer of 1964 afforded Warhol the time and space needed to conceptualize a new series that he could show at his inaugural exhibition with Castelli in the fall. While mulling over options in the Factory, he was visited by his friend Henry Geldzahler, who, according to legend, was the one who suggested to Wa
25 Andy Warhol Flowers 1964 acrylic, silkscreen ink on canvas 48 x 48 in. (121.9 x 121.9 cm.) Stamped twice with the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts, Inc. along the overlap; further numbered "PA53.012" along the overlap and stretcher bar.
Provenance Andy Warhol Foundation for the Visual Arts, Inc., New York Thomas Ammann Fine Art, Zurich Private Collection Literature N. Frei, G. Prinz (eds.), The Andy Warhol Catalogue Raisonné, Paintings and Sculpture 1964-1969, vol. 02A, New York, 2004, n.p, no. 1318 (illustrated) Catalogue Essay “In the middle of the party, Jim Rosenquist’s wife happened to pluck a carnation from one of the centerpieces. Ethel zeroed in on her and screamed, ‘You put that right back! Those are my flowers!’” ANDY WARHOL 1964 As the most recognizable Pop motif by the artist, and arguably one of the most identifiable paintings in the canon of Western art, Andy Warhol’s Flowers from 1964 is the icon of an era. The broad swath of electric green ground, overlaid with the black screen of grass and other brush, all punctuated by four large, non-specific flowers is at once representational and abstract, sunny and dark, uplifting and somber. First executed in the summer of 1964, the Flowers came during a transitional period within the artist’s life and career. Struck upon almost haphazardly by Warhol at the suggestion of his friend, then curator of the Metropolitan Museum of Art, Henry Geldzahler, the Flowers would inaugurate Warhol’s time at Castelli and symbolize the establishment of Pop as a global phenomenon. Ever since their inception, Warhol’s Flowers have solidified their position as the most iconic of the Pop imagery popularized by the likes of Warhol, Lichtenstein, Oldenburg, and others. Their effervescent beauty has come to be emblematic of the rapidly changing post-war culture and the manner in which it was manifested throughout social, political, and cultural avenues. Unlike the artist's legendary subjects of that period, principally consumerism, celebrity, death and disasters, the Flowers corpus was a significant departure to the more abstract; not only in terms of aesthetic character, but also of philosophical import. While the paintings that immediately preceded the Flowers typically represented narrative fact, recorded through the objectivity of the camera lens and re-contextualized through the artist's impassionate silkscreen, this series re-presents an ultimately quotidian subject devoid of context. There is no story of a spectacular rise to fame or untimely death behind these petals; no self-evident critique of the agents of celebrity culture or the manipulation of collective psychology through the engines of mass-media. Even the Dollar Bills and Campbell's Soup Can pictures that pioneered his concept of endlessly proliferating imagery were wedded to the specific cultural inheritance of the American Dream and consumer culture. With the indeterminate content of the Flowers, Warhol invited, for the first time, a far greater degree of interpretation, questioning and reflection from the spectator, thereby instituting a far grander range of individual subjective responses. Indeed, it is precisely due to the conceptual accessibility of the anti-didactic and egalitarian imagery of the Flowers that it has proliferated as such a potent symbol of an entire artistic movement. In the spring of 1964, Warhol decided to leave the representation of the Stable Gallery and to join that of Leo Castelli, the grand impresario of the Pop Art movement in New York. As epitomized by his presentation of 32 Campbell's Soup Cans at the Ferus Gallery in July 1962, the Elvis show, again at Ferus, in September and October of 1963, the Death paintings at Galerie Ileana Sonnabend in January 1964 and the Brillo Box sculptures at Stable in April 1964, Warhol characteristically preferred to dedicate his gallery exhibitions to a single theme, subject or sequence. The summer of 1964 afforded Warhol the time and space needed to conceptualize a new series that he could show at his inaugural exhibition with Castelli in the fall. While mulling over options in the Factory, he was visited by his friend Henry Geldzahler, who, according to legend, was the one who suggested to Wa
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.jpg "Quelle: Christie's")
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