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Obras
Andy Warhol
Geronimo (F & S II.384), 1986
Screenprint on Lenox Museum Board.
91.4 x 91.4 cm.
36 x 36 in.
36 x 36 in.
Edition of 250, 50 AP, 15 PP, 15 HC, 35 TP
10 numbered in Roman numerals, signed and numbered in pencil.There are 35 TP Signed and numbered in pencil.
Geronimo is one of the ten screenprints from Andy Warhol’s Cowboys and Indians portfolio, created in 1986. This series delves into the mythology and imagination of the American West, reflecting...
Geronimo is one of the ten screenprints from Andy Warhol’s Cowboys and Indians portfolio, created in 1986. This series delves into the mythology and imagination of the American West, reflecting Warhol's fascination with the genre. The portfolio not only explores Western American themes and iconic figures but also captures Warhol’s deep-seated interest in Western culture.
In this artwork, Warhol portrays Geronimo, the revered Apache leader and "medicine man" of the Bedonkohe band. Known for his leadership in numerous raids and battles against Mexican and American forces, Geronimo was a respected figure within his community. However, after a prolonged pursuit, he surrendered to American forces in 1886 and was subsequently used for propaganda purposes. His image was commercialised and exploited, turning him into a spectacle where tourists paid to see him and acquire fragments of his belongings. This exploitation reduced his complex life and actions to a stereotypical and clichéd representation of Native American identity.
In his Pop Art style, Warhol strips Geronimo of historical context, forcing viewers to engage with their own interpretations of his story and the broader Wild West narrative. By including Geronimo alongside larger-than-life figures like Chairman Mao and Marilyn Monroe, Warhol situates him within a broader cultural framework. This approach places Geronimo among pivotal figures essential for understanding American culture and its portrayal in popular media.
In this artwork, Warhol portrays Geronimo, the revered Apache leader and "medicine man" of the Bedonkohe band. Known for his leadership in numerous raids and battles against Mexican and American forces, Geronimo was a respected figure within his community. However, after a prolonged pursuit, he surrendered to American forces in 1886 and was subsequently used for propaganda purposes. His image was commercialised and exploited, turning him into a spectacle where tourists paid to see him and acquire fragments of his belongings. This exploitation reduced his complex life and actions to a stereotypical and clichéd representation of Native American identity.
In his Pop Art style, Warhol strips Geronimo of historical context, forcing viewers to engage with their own interpretations of his story and the broader Wild West narrative. By including Geronimo alongside larger-than-life figures like Chairman Mao and Marilyn Monroe, Warhol situates him within a broader cultural framework. This approach places Geronimo among pivotal figures essential for understanding American culture and its portrayal in popular media.
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