Introduction
Andy Warhol is a pop artist who left a significant mark on the pop art movement in the art world. He transformed most everyday objects into captivating scenes in an artistic domain. The better part of all his works relates to the concept that he managed to work on even the most prominent celebrities and cultures into beautiful pieces of art.
The essay explores two among his many collections of art that have continued to produce immense glamour. The chosen part from “Gardner’s Art through the Ages” is “Marilyn Diptych,” while the other piece obtained from external research entails the “Nine Marilyns.” The essay analyzes these images, engaging the context of the historical aspects of the artwork, accompanied by their techniques and significance while placing these images under the confines of the broader landscape incorporated in art history.
Marilyn Diptych
This piece of art represents one of the essential images Andy Warhol made during his time. “Marilyn Diptych” was completed in 1962 following the end of World War II (Kleiner 22). Figure 1 was made by Andy during the post-war era, marking the rise of consumerism and the ascent of American popular culture.
The painting of figure 1 is also closely tied to the aftermath of the death of Marilyn Monroe, reflecting on the fascination that had spread about the celebrity’s culture during the 1960s (Kleiner 22). The piece serves as a form of memorial to the death of Monroe and how it emotionally affected most of her fans. Warhol’s work also provides a commentary on the pop culture that considered fame with the mass production of Monroe’s image. The primary motivation for the creation of the “Marilyn Diptych” related with the ephemeral nature of fame. Monroe had gained a lot of fame from the many fans that she had before the time of her death.
Warhol employed a silkscreen in printing while repetitively depicting Monroe’s face. The basis of the repetition was one of the techniques of Andy Warhol’s work. The mass production of artwork adversely increased due to the prevalent nature of the consumer-driven society, particularly in the specific era of the 1960s (Brajčić et al. 241). The multiple images depicted with many fading faces of Monroe also portrayed Warhol’s love and fascination with the feature of repetition.
The significance of the “Marilyn Diptych” relates with the celebration of Monroe’s iconic status. The relevance of the image is that it serves as a visual memory that commemorates the existence of Monroe while immortalizing the star in her prime years. Other critical components that emerge as the relevance of constructing this image include investigating the conflict between tragedy and the perceived obsessive pursuit of celebrities (Brajčić et al. 244).
The other critical component related to the attributes of the artwork is that it takes place in a society that is increasingly dominated by aspects of media imagery. The use of vibrant colors in the portrait symbolizes the fading of Monroe’s stardom (Kleiner 32). The whole representation of the artwork creates the notion of fame, which exhibits how Monroe was famous at the time of her death.
The other work by Warhol is depicted by the creation of the “Nine Marilyns.” Figure 2 represents the many other critical artistic works created during his time. The time of creation of the “Nine Marilyns” was the same as that of the “Marilyn Diptych” in 1962 (Skalin 2). The artistic work of “Nine Marilyns” depicts the essence of the artist’s infatuation with the iconic actress (Skalin 2). The “Nine Marilyns” production happened at a critical time in American history. Warhol’s extraordinary work recognizes the significance of the pop art movement, which was marked by various changes. The main reason for creating figure 2 entailed Warhol’s desire to continue exploring commodification that could happen with the celebrity. It represented one of the critical pieces among the several extensive sets of the Marilyn series.
The “Nine Marilyns” technique relates to that used in the “Marilyn Diptych,” which employs a combination of silkscreen printing with hand-painted details on the image. Incorporating these critical details in the artwork creates more of a visually striking composition. As a result, this amplifies the whole idea of the consumerist aesthetic, defining his overall work (Skalin 2). The techniques used illustrate the significance of this piece of art’s creation in capturing people’s interest in its unique beauty.
The “Nine Marilyns” extends the narrative regarding the painting of the “Marilyn Diptych.” However, the presence of the “Nine Marilyns” portrays how Monroe’s image is fragmented in almost a cubist manner. The idea continues to exhibit the hinting nature of fractured prospects regarding the celebrity’s life amidst the media-saturated society. The other factor that makes this work fit into the art history relates to the alignment to the broader examination of consumer culture. There is also the obsession with the celebrities that serves as a poignant companion to add features to the “Marilyn Diptych.”
Similarities and Differences
Visual Attributes
The comparison between these art pieces reflects the form and nature of these two artworks. One of the similarities that arise from these two pieces is the multiple use of the images of Monroe in the canvas. Both paintings feature the use of the iconic image that has been repetitively reproduced to depict a specific imagery. The multiple production of Monroe’s image emphasizes the artist’s fascination with the presence of the ubiquity of media imagery.
However, the differences outlined entail that “Marilyn Diptych” explores the intricacy of colors whereby the piece fades to a grayscale appearance. This symbolizes the nature of the fading timeline related to Monroe’s stardom intertwined with the ephemeral mannerisms of fame (Brown 32). On the other hand, the “Nine Marilyns” employs a fragmented composition that alludes to the multifaceted celebrity perception that people have towards Monroe.
Content
The subject matter involving these pieces of work differed due to the varying times with which they were created. They entail some similar aspects that led to their painting but also have some differences that emerge. One of the similarities between both creations is the commodification that occurs with the celebrity, who happens to be Monroe. Another similar prospect is the media’s impact on public perceptions during the pop art movement in the 1960s (Feigenson 5).
However, some differences emerge from the creation of these two images. “Nine Marilyns” adds a certain complexity occurring via a fragmented portrayal, while the production of the “Marilyn Diptych” depicts the tragedy of Monroe’s life. The latter provides the aspects that are related to the fleeting nature of fame. At the same time, “Nine Marilyns” invites the viewers to consider the multifaceted nature of the celebrity.
Purpose and Style
The functions of both art, together with the style of their creation, also have some similarities and differences. The similarities entail that both artworks depict the significant way Andy defines his signature style. Any other individual artist cannot meet this criterion due to the eminent nature in which Warhol identifies with his work. The signature style is characterized by repetition and vibrant colors, challenging traditional notions concerning artistic subject matter. The differences between these two pieces of work include the aspect that “Marilyn Diptych” curates a dual purpose, serving as a memorial and commentary on the culture of the celebrity Monroe (Jiahang 3). “Nine Marilyns,” however, explores the character regarding the fractured nature involving public perception that deepens the narrative that its counterpart has initiated.
Socio-cultural Context and a Fit into the Art Movements
The creation of these artworks fit into the narrative of the Pop Art movement, which entails the seamless rebellious responses that were made to contest elitism regarding traditional art. Both paintings also provide a straightforward way of celebrating the essence of popular culture, in this case, directly involves America. Andy’s Marilyn series became a spoken form of art made during a crucial time about the significant shifts happening in the artistic, social, and political world.
Numerous dynamics were at play at these critical times, reflecting on the consumer-driven zeitgeist occurring in the 1960s (Sforzini 2). There was a continued proliferation regarding the mass media and its activities, poignantly leading to the rise of consumerism. These artworks also depict the presence of a transformative socio-cultural landscape, all exhibited and brought to life in Andy’s works.
Warhol continuously uses the art of repetition in most of his work, incorporating it with vibrant colors aligning with the ethos that is, in most cases, considered in Pop art. These aspects challenge conventional boundaries regarding artistic guidelines and subject matter. Additionally, critiques arise from every angle, including the political era related to the prospect of commodifying the celebrity.
Another political tip relates to the constant impact generated by the media, particularly concerning public perception. The economic consideration of these pieces of art relates to their linkage to mirroring the rise of consumer culture while offering a transformative mundane to the various objects that have been painted (Sforzini 3). The economic perspective mainly arises from the point that the images of celebrities are turned into commodities that can be sold.
There is also an anthropological point of view of the pieces of art. These go hand in hand with the concept of social considerations. The artwork reflects on how the dynamics keep changing regarding fame with influence that continuously increases from the media, which shapes cultural narratives. They provoke philosophical features related to contemplating issues concerning celebrities that intersects culture and art.
Conclusion
The two artworks, “Marilyn Diptych” and “Nine Marilyns,” testify to Andy Warhol’s impact on the art world. “Marilyn Diptych” illustrates the tragedy surrounding Monroe and the transience of fame, while the “Nine Marilyns” provides a layer of complexity via a fragmented portrayal. It invites the viewers to question prospects related to the media-saturated society and the lives of the celebrities. Both pieces contribute significantly to Andy’s exploration of celebrity obsession and consumer culture.
Works Cited
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Brown, Payton. ‘Catholicism and Commercialism: The Many Aspects of Andy Warhol’s Life’. Clio: WVU Art History Research Journal, vol. 1, no. 1. 2022. Web.
Feigenson, Neal. “Say It with Pictures: Image and Text in Andy Warhol Foundation for the Visual Arts, Inc. V. Goldsmith.” Social Science Research Network, RELX Group (Netherlands), Jan. 2023. Web.
Jiahang, Zhang. “The Structure of Reproduction—Exploring Andy Warhol’s Painting Style.” Frontiers in Art Research, vol. 5, no. 2, 2023. Web.
Kleiner, Fred S. Gardner’s Art through the Ages: The Western perspective, Volume I. Cengage Learning, 2020.
Marina72. “Andy Warhol’s ‘Nine Marilyns’ at Sotheby’s.” The Marilyn Report. 2021. Web.
Ryan, Tina Rivers. “Warhol, Marilyn Diptych.” Khan Academy, 2018. Web.
Sforzini, Arianna. “Repetition: Differential Monotony, Affects, Creation.” ICI Berlin Press EBooks. 2019, pp. 99–105. Web.
Skalin, Maria. ‘The Reemergence of Celebrity Imagery in Twenty-First Century Art’. MA Theses. 2020. Web.