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Reigning Queens: Queen Elizabeth of the United Kingdom (F & S. II.335)
"In the Reigning Queens portfolio, Andy Warhol treated the Queen of England, not as a ruling monarch, but as a Pop Art icon..."
The Reigning Queens portfolio was created by Andy Warhol in 1985, two years before his death. The Queen Elizabeth portfolio is part of the wider Reigning Queens series and is one of Warhol’s largest, featuring a total of 16 prints. The wider portfolio features three other female monarchs ruling in the 1980s: Queen Margrethe II of Denmark, Queen Beatrix of The Netherlands and Queen Ntombi Twala of Swaziland. Each rendition of each ruler contains four different coloured screenprints, and when placed next to each other the repetition is akin to that of a stamp. There is a ‘Royal Edition’ of each queen, which uses diamond dust to convey the glamour and wealth of these monarchs.
The Reining Queens portfolio was originally created to be shown in the United Kingdom, and Warhol complained about the showing in America, “I had my opening at Leo Castelli’s to go to, of the Reigning Queens portfolio that I just hate George Mulder for showing here in America. [It was] supposed to be only for Europe—nobody here cares about royalty and it’ll be another bad review.”
In the Reigning Queens portfolio, Andy Warhol treated the Queen of England, not as a ruling monarch, but as a Pop Art icon, akin to his other celebrity portfolios, such as Liz Taylor or Marilyn Monroe. Andy Warhol once proclaimed, ‘I want to be as famous as the Queen of England’, showing that notions of celebrity and adoration were still a key element of his artistic practice. Previous to this screenprint being acquired by the Royal Collection, Queen Elizabeth did not own a single portrait of herself that she hadn’t sat for in person. Instead, Warhol used a photograph taken by Peter Grugen in 1975 for Queen Elizabeth’s Silver Jubilee in 1977. As this was a portrait that would have been mass produced, across stamps and coins, the print echoes Warhol’s longstanding fascination with mass production and consumer culture, especially due Warhol’s innovative use of screenprint, which allows his art t be reproduced in a manner similar to that of coins or stamps. The screenprint depicts Queen Elizabeth smiling regally at the viewer. Warhol has transformed the monarch into a pop art icon, placing her against a dark blue background, with a green dress and orange sache. Blocks of colour scatter across the print, echoing his previous portfolios such as Ladies and Gentlemen. As her hair merges into the background, the viewer is drawn to the bright pale face. This screenprint is one of female power, a large-scale portrait that demands a recognition of female authority.
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