LaurieAnnie's photos with the keyword: MarilynMonroe

Andy Warhol (artist) American, 1928 - 1987 Green Marilyn, 1962 silkscreen on synthetic polymer paint on canvas Overall: 50.8 x 40.6 cm (20 x 16 in.) framed: 53.9 x 43.1 x 3.8 cm (21 1/4 x 16 15/16 x 1 1/2 in.) Gift of William C. Seitz and Irma S. Seitz, in Honor of the 50th Anniversary of the National Gallery of Art 1990.139.1 Text from: www.nga.gov/fcgi-bin/tinfo_f?object=72039

Andy Warhol (artist) American, 1928 - 1987 Green Marilyn, 1962 silkscreen on synthetic polymer paint on canvas Overall: 50.8 x 40.6 cm (20 x 16 in.) framed: 53.9 x 43.1 x 3.8 cm (21 1/4 x 16 15/16 x 1 1/2 in.) Gift of William C. Seitz and Irma S. Seitz, in Honor of the 50th Anniversary of the National Gallery of Art 1990.139.1 Text from: www.nga.gov/fcgi-bin/tinfo_f?object=72039

James Rosenquist. (American, born 1933). Marilyn Monroe, I. 1962. Oil and spray enamel on canvas, 7' 9" x 6' 1/4" (236.2 x 183.3 cm). The Sidney and Harriet Janis Collection Gallery label text 2006 Screen icon and sex symbol Marilyn Monroe (1926–62) was a favorite subject of many pop artists, and she figures prominently in more than fifteen works in the Museum's collection. Here, in a tribute to the actress created soon after her death, Rosenquist inverted, fragmented, and partially obscured her image with a superimposed portion of her name. He also included a segment of the brand name "Coca–Cola," rendered upside–down in its trademark script. In pairing Monroe with this famous logo, Rosenquist was suggesting that she is as iconic an example of American popular culture as the ubiquitous soft drink. Text from: www.moma.org/collection/browse_results.php?object_id=80174

Andy Warhol. (American, 1928-1987). Gold Marilyn Monroe. 1962. Silkscreen ink on synthetic polymer paint on canvas, 6' 11 1/4" x 57" (211.4 x 144.7 cm). Gift of Philip Johnson. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 241 Marilyn Monroe was a legend when she committed suicide in August of 1962, but in retrospect her life seems a gradual martyrdom to the media and to her public. After her death, Warhol based many works on the same photograph of her, a publicity still for the 1953 movie Niagara. He would paint the canvas with a single color—turquoise, green, blue, lemon yellow—then silkscreen Monroe's face on top, sometimes alone, sometimes doubled, sometimes multiplied in a grid. As the surround for a face, the golden field in Gold Marilyn Monroe (the only one of Warhol's Marilyns to use this color) recalls the religious icons of Christian art history—a resonance, however, that the work suffuses with a morbid allure. In reduplicating this photograph of a heroine shared by millions, Warhol denied the sense of the uniqueness of the artist's personality that had been implicit in the gestural painting of the 1950s. He also used a commercial technique— silkscreening—that gives the picture a crisp, artificial look; even as Warhol canonizes Monroe, he reveals her public image as a carefully structured illusion. Redolent of 1950s glamour, the face in Gold Marilyn Monroe is much like the star herself—high gloss, yet transient; bold, yet vulnerable; compelling, yet elusive. Surrounded by a void, it is like the fadeout at the end of a movie. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Andy Warhol. (American, 1928-1987). Gold Marilyn Monroe. 1962. Silkscreen ink on synthetic polymer paint on canvas, 6' 11 1/4" x 57" (211.4 x 144.7 cm). Gift of Philip Johnson. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 241 Marilyn Monroe was a legend when she committed suicide in August of 1962, but in retrospect her life seems a gradual martyrdom to the media and to her public. After her death, Warhol based many works on the same photograph of her, a publicity still for the 1953 movie Niagara. He would paint the canvas with a single color—turquoise, green, blue, lemon yellow—then silkscreen Monroe's face on top, sometimes alone, sometimes doubled, sometimes multiplied in a grid. As the surround for a face, the golden field in Gold Marilyn Monroe (the only one of Warhol's Marilyns to use this color) recalls the religious icons of Christian art history—a resonance, however, that the work suffuses with a morbid allure. In reduplicating this photograph of a heroine shared by millions, Warhol denied the sense of the uniqueness of the artist's personality that had been implicit in the gestural painting of the 1950s. He also used a commercial technique— silkscreening—that gives the picture a crisp, artificial look; even as Warhol canonizes Monroe, he reveals her public image as a carefully structured illusion. Redolent of 1950s glamour, the face in Gold Marilyn Monroe is much like the star herself—high gloss, yet transient; bold, yet vulnerable; compelling, yet elusive. Surrounded by a void, it is like the fadeout at the end of a movie. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Andy Warhol. (American, 1928-1987). Gold Marilyn Monroe. 1962. Silkscreen ink on synthetic polymer paint on canvas, 6' 11 1/4" x 57" (211.4 x 144.7 cm). Gift of Philip Johnson. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 241 Marilyn Monroe was a legend when she committed suicide in August of 1962, but in retrospect her life seems a gradual martyrdom to the media and to her public. After her death, Warhol based many works on the same photograph of her, a publicity still for the 1953 movie Niagara. He would paint the canvas with a single color—turquoise, green, blue, lemon yellow—then silkscreen Monroe's face on top, sometimes alone, sometimes doubled, sometimes multiplied in a grid. As the surround for a face, the golden field in Gold Marilyn Monroe (the only one of Warhol's Marilyns to use this color) recalls the religious icons of Christian art history—a resonance, however, that the work suffuses with a morbid allure. In reduplicating this photograph of a heroine shared by millions, Warhol denied the sense of the uniqueness of the artist's personality that had been implicit in the gestural painting of the 1950s. He also used a commercial technique— silkscreening—that gives the picture a crisp, artificial look; even as Warhol canonizes Monroe, he reveals her public image as a carefully structured illusion. Redolent of 1950s glamour, the face in Gold Marilyn Monroe is much like the star herself—high gloss, yet transient; bold, yet vulnerable; compelling, yet elusive. Surrounded by a void, it is like the fadeout at the end of a movie. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...