Andy Warhol
Lenin (F & S II.402), 1987
Screenprint on Arches 88 paper.
100 x 74.9 cm.
39 3/8 x 29 1/2 in.
39 3/8 x 29 1/2 in.
Edition of 120 (plus proofs)
Signed and numbered in pencil lower left.
Edition of 120, plus 24 AP (artist proofs), 6 PP (printers proofs) 10 HC (hors commerce), signed and numbered in pencil low left. There are 46 TP (trial proofs) for...
Edition of 120, plus 24 AP (artist proofs), 6 PP (printers proofs) 10 HC (hors commerce), signed and numbered in pencil low left. There are 46 TP (trial proofs) for II. 402 and II. 203 signed and numbered in peencil lower left.
Executed in 1987, Andy Warhol’s Lenin screenprint offers a striking portrait of Vladimir Lenin, the notorious Soviet leader. Created more than fifty years after Lenin's death and in the twilight years of the USSR, this work showcases Warhol's knack for appropriating historically charged images, focusing on artistic form rather than political commentary.
In Lenin, Warhol uses a black background that merges Lenin’s suit into the negative space, making his face appear to float, as if looming over the viewer much like Lenin did over his own subjects. The dictator's face and hand are highlighted in red, imbuing them with a sense of ominous power. Lenin’s hand, resting on a book, may symbolize his dialectical theories outlined in his writings.
By reappropriating a controversial figure like Lenin with apparent detachment from historical and social context, Warhol's work paradoxically challenges the censorship enforced by the Soviet regime, adhering to his belief in art for art’s sake over realism.
At this final stage of Warhol's career, his Lenin portraits stand as a bold testament to his enduring ability to provoke and captivate. This work illustrates that, even as he approached the end of his career, Warhol's capacity to create powerful and unsettling imagery remained undiminished.
Executed in 1987, Andy Warhol’s Lenin screenprint offers a striking portrait of Vladimir Lenin, the notorious Soviet leader. Created more than fifty years after Lenin's death and in the twilight years of the USSR, this work showcases Warhol's knack for appropriating historically charged images, focusing on artistic form rather than political commentary.
In Lenin, Warhol uses a black background that merges Lenin’s suit into the negative space, making his face appear to float, as if looming over the viewer much like Lenin did over his own subjects. The dictator's face and hand are highlighted in red, imbuing them with a sense of ominous power. Lenin’s hand, resting on a book, may symbolize his dialectical theories outlined in his writings.
By reappropriating a controversial figure like Lenin with apparent detachment from historical and social context, Warhol's work paradoxically challenges the censorship enforced by the Soviet regime, adhering to his belief in art for art’s sake over realism.
At this final stage of Warhol's career, his Lenin portraits stand as a bold testament to his enduring ability to provoke and captivate. This work illustrates that, even as he approached the end of his career, Warhol's capacity to create powerful and unsettling imagery remained undiminished.