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Andy Warhol Franz Kafka ( F & S.II 226)
This print depicts the German novelist Franz Kafka, who carries a powerful legacy in the world of literature due to his fusion of absurd situations characterised by anxiety and alienation.
Each print from Andy Warhol’s Ten Portraits of Jews of the 20th Century portfolio depicts a different Jewish figure, but with each contributing significantly to the 20th century. The figures Warhol depicted were so renowned that Warhol nicknamed this series ‘Jewish geniuses’. This print depicts the German novelist Franz Kafka, who carries a powerful legacy in the world of literature due to his fusion of absurd situations characterised by anxiety and alienation.
Warhol blends aspects of realism and abstraction in his signature late graphic style in his portrait of Kafka. Warhol utilises blue geometric forms in differing blue hues to highlight areas of Kafka’s face, leaving some bits darker or lighter than others. The face is highlighted further trough its contrast with the stark black background, blurring his hair into the background. Hand drawn, crayon-like lines are utilised to further highlight Kafka's feature, adding a graphic quality to the print that is quintessential of Warhol in this period. Warhol's use of screen printing as a medium to explore the contradictions between photographic representation and abstraction is typified in this work of Franz Kafka. Warhol's technical breakthrough of the screen print process is exhibited with delicacy and complexity in this work. The abstraction of Kafka's original shot imbues the portrait with new significance. The sitter is transported from the past into the present by Warhol's use of vibrant, flattened hues that hint at abstraction, helping to create a Pop Art classic of the 1980s.
Whilst Warhol’s graphic style in this portfolio is reminiscent of his other works, such as Mick Jagger or Paloma Picasso, however the subject matter is quite significantly different. Due to the social contributions and significance of these Jewish figures, Warhol is moving away from his previous obsession with the surface level, narcissistic glamour of the ‘celebrity’.
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