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  • Andy Warhol, Marilyn Monroe (F & S II.28), 1967

    Andy Warhol

    Marilyn Monroe (F & S II.28), 1967
    Screenprint on paper
    91.4 x 91.4 cm.
    36 x 36 in.
    Edition of 250 (plus proofs)
    Signed in pencil and numbered with a rubber stamp on verso; some signed in ball-point pen; some initialled on verso; some dated.
    send me info
    %3Cdiv%20class%3D%22artist%22%3EAndy%20Warhol%3C/div%3E%3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3EMarilyn%20Monroe%20%28F%20%26%20S%20II.28%29%3C/span%3E%2C%20%3Cspan%20class%3D%22title_and_year_year%22%3E1967%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22medium%22%3EScreenprint%20on%20paper%3C/div%3E%3Cdiv%20class%3D%22dimensions%22%3E91.4%20x%2091.4%20cm.%3Cbr/%3E%0A36%20x%2036%20in.%3C/div%3E%3Cdiv%20class%3D%22edition_details%22%3EEdition%20of%20250%20%28plus%20proofs%29%3C/div%3E%3Cdiv%20class%3D%22signed_and_dated%22%3ESigned%20in%20pencil%20and%20numbered%20with%20a%20rubber%20stamp%20on%20verso%3B%20some%20signed%20in%20ball-point%20pen%3B%20some%20initialled%20on%20verso%3B%20some%20dated.%3C/div%3E
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    The Marilyn Monroe portfolio stands as an early and defining example of Andy Warhol’s distinctive style. This series marks some of the first prints produced by Warhol’s print studio, Factory...
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    The Marilyn Monroe portfolio stands as an early and defining example of Andy Warhol’s distinctive style. This series marks some of the first prints produced by Warhol’s print studio, Factory Additions, which he established to create his celebrated high-volume print sets. The artwork is a vivid showcase of the energy and explosive colours that came to characterise Warhol’s aesthetic, featuring neon yellows, vivid blues, and intense reds. These striking contrasts helped to establish the Pop Art movement and cement the instantly recognizable Pop aesthetic.
    The Marilyn Monroe portfolio is a landmark series, reflecting Warhol’s exploration of the cult of celebrity. By mass-producing these portraits at the Factory, Warhol treated Monroe as a commodity, similar to his Campbell’s Soup cans, emphasising her status as a commercial object rather than just a person. This repetitious approach highlights the commodification of Monroe’s celebrity persona.
    In establishing the aesthetic standards of Pop Art, the portfolio not only underscores Warhol’s artistic goals but also challenges viewers to reconsider their perceptions of art. The enduring popularity and cultural impact of these portraits exemplify Warhol’s success in provoking thought about the nature of art and its relationship to popular culture.
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    Publications

    Frayda Feldman, and Jörg Schellmann. "Andy Warhol Prints: a Catalogue Raisonne 1962-1987." (2003) ii.278.
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