Andy WARHOL (1928-1987)
See also : Top 10 Painting USA Celebrities by Warhol USA by Warhol Later Warhols The Woman Groups Christianity Animals
Chronology : 20th Century 1960-1969 1962 1963 1964 1966 1980-1989 1986
Chronology : 20th Century 1960-1969 1962 1963 1964 1966 1980-1989 1986
Intro
1962 is the year of the first exhibitions dedicated to Warhol in Los Angeles and New York. Suddenly, from nowhere, appeared the seminal Warholian themes of contemporary art: the Campbell's soup, Marilyn, the dollar.
Warhol's contribution is to introduce in art such popular images that are instantly recognizable by everyone, and yet are paintings. Doing it he actually created current art, or still better the art of the current world.
He operated at all scales the fruitful idea of multiples, for which he is helped by the silkscreen printing technique in two complementary ways: separate similar works with variations of colors, and juxtaposition of identical patterns on the same work.
Warhol's contribution is to introduce in art such popular images that are instantly recognizable by everyone, and yet are paintings. Doing it he actually created current art, or still better the art of the current world.
He operated at all scales the fruitful idea of multiples, for which he is helped by the silkscreen printing technique in two complementary ways: separate similar works with variations of colors, and juxtaposition of identical patterns on the same work.
1962 Men in her Life by Warhol
2010 SOLD for $ 63M including premium by Phillips de Pury
narrated in 2020
The artistic language explored by Andy Warhol in 1962 is absolutely new. Objects from the mass consumption have their place in art in the form of series because they constitute an imaginary world understandable by everybody, and too bad if it is trivial. When he appreciates the advantage of screen printing to flood the art world with his pictures, he multiplies the dollars, more precisely the images of banknotes.
The world is fake and the celebrities are ephemeral. Warhol multiplies the Marilyns after the death of the actress as if she were a new Madonna. It is not enough for him. He will attack both the artificial life of the stars and the lies of photographs and newspapers.
Precisely, an article published by Life on April 13, 1962 summarizes the pathetic trajectory of the top movie star of the moment, Liz Taylor. After two divorces, she had been the widow of Mike Todd and it is clear that her fourth marriage, with Eddie Fisher, will not last. One of the photos cut from Life had been taken at the Epsom Derby in 1957. It shows two married couples whose destinies will soon collapse, Todd and Taylor and Fisher with Debbie Reynolds.
Made in the fall of 1962, Men in her Life is a black and white silkscreen on canvas 215 x 212 cm based on that happy image which is copied 38 times in seven rows. The artist varied the contrasts, from saturated to clear. A classic reading from left to right and from top to bottom transforms this unique theme into an agonizing narration, with a gradual deterioration in the quality of the image and in its cropping and with the jagged appearance of the right edge.
The variety of contrasts and framings opens the way for the Elvis Ferus-type of the following year. The title makes the actress appear as a man-eater, anticipating the morbid atmosphere of Death and Disaster and especially the mosaics of images of Car Crash, also from 1963. Again in 1963 the seriously ill Liz will succeed Marilyn in Warhol's pantheon.
Men in her Life was sold for $ 63M including premium by Phillips de Pury on November 8, 2010, lot 15. The low definition image is shared by Wikipedia for fair use.
The world is fake and the celebrities are ephemeral. Warhol multiplies the Marilyns after the death of the actress as if she were a new Madonna. It is not enough for him. He will attack both the artificial life of the stars and the lies of photographs and newspapers.
Precisely, an article published by Life on April 13, 1962 summarizes the pathetic trajectory of the top movie star of the moment, Liz Taylor. After two divorces, she had been the widow of Mike Todd and it is clear that her fourth marriage, with Eddie Fisher, will not last. One of the photos cut from Life had been taken at the Epsom Derby in 1957. It shows two married couples whose destinies will soon collapse, Todd and Taylor and Fisher with Debbie Reynolds.
Made in the fall of 1962, Men in her Life is a black and white silkscreen on canvas 215 x 212 cm based on that happy image which is copied 38 times in seven rows. The artist varied the contrasts, from saturated to clear. A classic reading from left to right and from top to bottom transforms this unique theme into an agonizing narration, with a gradual deterioration in the quality of the image and in its cropping and with the jagged appearance of the right edge.
The variety of contrasts and framings opens the way for the Elvis Ferus-type of the following year. The title makes the actress appear as a man-eater, anticipating the morbid atmosphere of Death and Disaster and especially the mosaics of images of Car Crash, also from 1963. Again in 1963 the seriously ill Liz will succeed Marilyn in Warhol's pantheon.
Men in her Life was sold for $ 63M including premium by Phillips de Pury on November 8, 2010, lot 15. The low definition image is shared by Wikipedia for fair use.
1962 Coca-Cola for Everybody
2013 SOLD 57 M$ including premium
1962 is the wonderful year of Andy Warhol, when he suddenly deploys all his artistic and social language. The bottle of Coca-Cola has a key role which he clearly explained.
For Warhol, this bottle in a single model with no variant is the common point between all Americans without any social distinction. The US President, Liz Taylor and the observer of the art of Warhol see and use this object in the same way. It is a symbol of equality. At the same time, Warhol is also studying the soup cans which he stages in incredible positions with dimensions similar to those of humans.
Equality is socially too important for joking, and the bottle of Coca-Cola, even when oversized, remains standing with the utmost seriousness. For this reason, variations are not appropriate and this bottle is the rarest among the great iconic symbols of the first year of Warhol.
The early Coca-Colas by Warhol are made singly by hand in black, without recourse to the silkscreen. Coca-Cola (4), acrylic on canvas 208 x 144 cm, was sold for $ 35.3 million including premium by Sotheby's on November 9, 2010.
The idea of multiples is already another key of the world of Warhol. Coca-Cola (3), casein on cotton 176 x 137 cm, has exactly the same figure as (4). Coca-Cola (3) is estimated $ 40M, for sale by Christie's in New York on November 12. This artwork is illustrated in the article shared by Bloomberg.
POST SALE COMMENT
This specimen number 3 of the most iconic series of Pop Art was sold for $ 57M including premium.
For Warhol, this bottle in a single model with no variant is the common point between all Americans without any social distinction. The US President, Liz Taylor and the observer of the art of Warhol see and use this object in the same way. It is a symbol of equality. At the same time, Warhol is also studying the soup cans which he stages in incredible positions with dimensions similar to those of humans.
Equality is socially too important for joking, and the bottle of Coca-Cola, even when oversized, remains standing with the utmost seriousness. For this reason, variations are not appropriate and this bottle is the rarest among the great iconic symbols of the first year of Warhol.
The early Coca-Colas by Warhol are made singly by hand in black, without recourse to the silkscreen. Coca-Cola (4), acrylic on canvas 208 x 144 cm, was sold for $ 35.3 million including premium by Sotheby's on November 9, 2010.
The idea of multiples is already another key of the world of Warhol. Coca-Cola (3), casein on cotton 176 x 137 cm, has exactly the same figure as (4). Coca-Cola (3) is estimated $ 40M, for sale by Christie's in New York on November 12. This artwork is illustrated in the article shared by Bloomberg.
POST SALE COMMENT
This specimen number 3 of the most iconic series of Pop Art was sold for $ 57M including premium.
1963 Car Crash
Intro
Andy Warhol achieves fame in 1962 by collecting and repeating images of consumer items and movie stars. The effect on his own psyche is negative : he keeps the impression of being alone in facing the risk of a sudden death. His daily practice of Catholicism will never allow him to overcome this morbid terror.
The American dream is not enough to express the world. Automobile is very popular in the USA, and a symbol of freedom. Car crash claims the death of more than 100 people per day. The readers of the newspapers do not feel concerned by the horrible news and illustrations from the disaster.
Andy reacts against this social issue that hurts his Catholic devotion. In 1963 he begins his Death and Disaster themes. He re-screens the images of the most terrible car accidents. The series also includes his blame against the electric chair. He would say much later: "Nobody in America has a normal life".
The American dream is not enough to express the world. Automobile is very popular in the USA, and a symbol of freedom. Car crash claims the death of more than 100 people per day. The readers of the newspapers do not feel concerned by the horrible news and illustrations from the disaster.
Andy reacts against this social issue that hurts his Catholic devotion. In 1963 he begins his Death and Disaster themes. He re-screens the images of the most terrible car accidents. The series also includes his blame against the electric chair. He would say much later: "Nobody in America has a normal life".
1
Silver Car Crash
2013 SOLD for $ 105M by Sotheby's
On November 13, 2013, Sotheby's sold for $ 105M from a lower estimate of $ 60M Silver Car Crash (Double Disaster), a diptych 267 x 416 cm overall, lot 16.
On the left, the image is repeated fifteen times in three columns and five rows, with some variations in the shades of gray. On the right, the area is empty, as if the horrific scene had an extension inviting for the destruction of other lives and other cars. Warhol made a similar use of the diptych in some pictures of Liz.
The pale green of the Burning car and the apparent incompleteness of its sequence in the bottom right corner put this image in the direct continuity of the Silver Car Crash (Double Disaster).
The low resolution image below is shared by Wikimedia for fair use :
On the left, the image is repeated fifteen times in three columns and five rows, with some variations in the shades of gray. On the right, the area is empty, as if the horrific scene had an extension inviting for the destruction of other lives and other cars. Warhol made a similar use of the diptych in some pictures of Liz.
The pale green of the Burning car and the apparent incompleteness of its sequence in the bottom right corner put this image in the direct continuity of the Silver Car Crash (Double Disaster).
The low resolution image below is shared by Wikimedia for fair use :
2
White Disaster
2022 SOLD for $ 85M by Sotheby's
White Disaster, subtitled White Car Crash 19 Times, executed by Warhol in 1963, is unquestionably the culmination of his Car Crash sub-series and arguably the culmination of his Death and Disaster theme.
This work is monumental, 370 x 210 cm, requiring to be viewed from below. The next larger Car Crash items are the diptych Double Disaster (Silver Car Crash), 230 cm high with the right element left blank, sold for $ 105M by Sotheby's in 2013, and the 270 x 420 cm Orange Car Crash 19 Times kept at the MoMA.
White Disaster is made of a single image printed 19 times in 7 rows of 3, 2, 3, 3, 2, 3, 3 in a chilling irregular contour. The frames in a row are slightly overlapping. They may have been variously contrasted.
Its single image displays a crushed car with a seated dead person viewed through the side door opened by the crash. Such a clearly outlined figure in a dead position within the car is rare in the rest of the series. The dead man of the Burning car sub-series had been ejected by that crash.
White Disaster is made in silkscreen ink and graphite on primed canvas with no color pigment. It is a difference with the Silver Car Crash prepared in silver spray paint. Some other works are orange or green.
White is the most terrible choice because it reminds a newspaper and because it is the race of the dead old person. Such a disaster was so common in the USA of the 1960s that the source of the image has not been retrieved.
White Disaster was sold for $ 85M by Sotheby's on November 16, 2022, lot 114.
This work is monumental, 370 x 210 cm, requiring to be viewed from below. The next larger Car Crash items are the diptych Double Disaster (Silver Car Crash), 230 cm high with the right element left blank, sold for $ 105M by Sotheby's in 2013, and the 270 x 420 cm Orange Car Crash 19 Times kept at the MoMA.
White Disaster is made of a single image printed 19 times in 7 rows of 3, 2, 3, 3, 2, 3, 3 in a chilling irregular contour. The frames in a row are slightly overlapping. They may have been variously contrasted.
Its single image displays a crushed car with a seated dead person viewed through the side door opened by the crash. Such a clearly outlined figure in a dead position within the car is rare in the rest of the series. The dead man of the Burning car sub-series had been ejected by that crash.
White Disaster is made in silkscreen ink and graphite on primed canvas with no color pigment. It is a difference with the Silver Car Crash prepared in silver spray paint. Some other works are orange or green.
White is the most terrible choice because it reminds a newspaper and because it is the race of the dead old person. Such a disaster was so common in the USA of the 1960s that the source of the image has not been retrieved.
White Disaster was sold for $ 85M by Sotheby's on November 16, 2022, lot 114.
3
Green Burning Car
2007 SOLD for $ 72M by Christie's
Warhol searches and finds in the newspapers the most horrible photos of car accidents. One of them is particularly atrocious. It shows an accident that just happened on a street in Seattle. Chased by the police, a car overturned and caught fire. The driver was thrown onto a stake, taking the position of a lynched man.
The worst element in this image is possibly not its violence. Just behind the dying man, a passerby quietly walks away, his hands in his pockets. Exploiting this indecency, Newsweek integrated this photo into an article on a social theme, in June 1963. We can imagine the horror that this image caused for the highly sensitive Andy.
Warhol used this specific photo four times in repeated screen prints on a white painted background and once on a gloomy pale green background. Green Car Crash, also named Green Burning Car I, is a 229 x 203 cm assembly of four columns and three rows of this image, with varied contrasts. The reading ends on the nothingness : the last block at the bottom right is blank.
Green Car Crash was sold for $ 72M by Christie's on May 16, 2007 from a lower estimate of $ 25M, lot 15.
The worst element in this image is possibly not its violence. Just behind the dying man, a passerby quietly walks away, his hands in his pockets. Exploiting this indecency, Newsweek integrated this photo into an article on a social theme, in June 1963. We can imagine the horror that this image caused for the highly sensitive Andy.
Warhol used this specific photo four times in repeated screen prints on a white painted background and once on a gloomy pale green background. Green Car Crash, also named Green Burning Car I, is a 229 x 203 cm assembly of four columns and three rows of this image, with varied contrasts. The reading ends on the nothingness : the last block at the bottom right is blank.
Green Car Crash was sold for $ 72M by Christie's on May 16, 2007 from a lower estimate of $ 25M, lot 15.
1963 The King and the Bad Boy
2014 SOLD for $ 82M including premium
After exploiting the adoration of the public for two actresses, Marilyn and Liz, Andy Warhol looked at the male actors. OnNovember 12 in New York, Christie's sells two of his most outstanding works in this theme, the Triple Elvis (Ferus Type) and the Quadruple Marlon. Both men, each in his own way, embodied the rebellion of the younger generation.
The 1963 exhibition at the Ferus Gallery in Los Angeles gave an opportunity for the artist to prepare multiple images of the King on a silver background that evoked the movie screen. On 9 May 2012, Sotheby's sold for $ 37M including premium a Double Elvis (Ferus Type), 208 x 122 cm, for which the inequality of density of the two identical figures brings a feeling of frenzy.
For the Triple Elvis, lot 9 of the next sale, 208 x 173 cm, the three overlapping figures are of equal density but the momentum is provided by their unequal interval.
To honor Marlon in 1966, Andy uses an untreated canvas that enhances the brilliance. On most images, rarer than Elvis, the Bad Boy is a rebel confined to the right side of the canvas.
A Double Marlon 213 x 243 cm, was sold for $ 32M including premium at Christie's on 13 May 2008. The Four Marlons, lot 10 of the next sale, 206 x 165 cm, is the only in this series for which the image occupies the entire surface in two rows of two pictures.
Both lots, to be sold separately, come from a German collection built for decorating a casino. The press release of September 10 announced a global estimate in the region of $ 130M for the two lots.
I invite you to play the two videos shared by Christie's: Elvis andMarlon.
RESULTS INCLUDING PREMIUM
Triple Elvis : 82M
Four Marlons : 70M
The low resolution image below is shared by Wikimedia for fair use :
The 1963 exhibition at the Ferus Gallery in Los Angeles gave an opportunity for the artist to prepare multiple images of the King on a silver background that evoked the movie screen. On 9 May 2012, Sotheby's sold for $ 37M including premium a Double Elvis (Ferus Type), 208 x 122 cm, for which the inequality of density of the two identical figures brings a feeling of frenzy.
For the Triple Elvis, lot 9 of the next sale, 208 x 173 cm, the three overlapping figures are of equal density but the momentum is provided by their unequal interval.
To honor Marlon in 1966, Andy uses an untreated canvas that enhances the brilliance. On most images, rarer than Elvis, the Bad Boy is a rebel confined to the right side of the canvas.
A Double Marlon 213 x 243 cm, was sold for $ 32M including premium at Christie's on 13 May 2008. The Four Marlons, lot 10 of the next sale, 206 x 165 cm, is the only in this series for which the image occupies the entire surface in two rows of two pictures.
Both lots, to be sold separately, come from a German collection built for decorating a casino. The press release of September 10 announced a global estimate in the region of $ 130M for the two lots.
I invite you to play the two videos shared by Christie's: Elvis andMarlon.
RESULTS INCLUDING PREMIUM
Triple Elvis : 82M
Four Marlons : 70M
The low resolution image below is shared by Wikimedia for fair use :
1964 Shot Marilyn
2022 SOLD for $ 195M by Christie's
In 1964 Andy Warhol revisits his quintessential Marilyn with a more sophisticated screening process for an increased luminosity and detail. He prepares five paintings 102 x 102 cm each in acrylic and silkscreen ink on linen, with respective red, orange, light blue, sage blue and turquoise backgrounds.
He is still stacking them at The Factory when a woman asks him the authorization to shoot them. She is the friend of the usual photographer of The Factory and Andy accepts. She does not come with a camera but with a revolver and shoots the stack of four at the level of Marilyn's forehead. They are now known as the Shot Marilyns despite being repaired with no evidence left from the hole. The turquoise had been spared. Andy fired the photographer.
Shot Orange was sold for $ 17.3M by Sotheby's on May 14, 1998. It was rumored in December 2017 to have been sold for $ 250M to the financier Kenneth Griffin. Shot Red was sold by Christie's to a Japanese bidder for $ 4M in 1989 and privately acquired by Philip Niarchos in 1994 for a reported $ 3.6M. Shot Light Blue was acquired in 1967 by Peter Brant. Spared from the shot, the Turquoise was rumored in 2007 to have been sold to Steven Cohen for $ 80M.
Coming from the collection of the Ammann dealer brother and sister team, Shot Sage Blue Marilyn was sold for $ 195M by Christie's on May 9, 2022, lot 36A.
He is still stacking them at The Factory when a woman asks him the authorization to shoot them. She is the friend of the usual photographer of The Factory and Andy accepts. She does not come with a camera but with a revolver and shoots the stack of four at the level of Marilyn's forehead. They are now known as the Shot Marilyns despite being repaired with no evidence left from the hole. The turquoise had been spared. Andy fired the photographer.
Shot Orange was sold for $ 17.3M by Sotheby's on May 14, 1998. It was rumored in December 2017 to have been sold for $ 250M to the financier Kenneth Griffin. Shot Red was sold by Christie's to a Japanese bidder for $ 4M in 1989 and privately acquired by Philip Niarchos in 1994 for a reported $ 3.6M. Shot Light Blue was acquired in 1967 by Peter Brant. Spared from the shot, the Turquoise was rumored in 2007 to have been sold to Steven Cohen for $ 80M.
Coming from the collection of the Ammann dealer brother and sister team, Shot Sage Blue Marilyn was sold for $ 195M by Christie's on May 9, 2022, lot 36A.
1964 The Terrible Twentieth Century
2014 SOLD 63 M$ including premium
The publication by Life magazine on May 17, 1963 of photos of the repression of race riots in Alabama shocked America and the world. The United States are seen as a country in civil war. The land of racial hatred.
This report possibly had the strongest political impact in the history of the press. Kennedy understood that the reforms of laws and behaviors are inevitable. The road will be long, but civil peace will eventually settle. These photos made by Charles Moore for Associated Press are the Guernica of America.
At the same time, Andy Warhol releases the real meaning of his own artistic message. Consumerism is an artifact, advertising is a technique which however has the merit of having shown the expressive power of the multiple image.
Andy chose his press photos around the theme of death in America. The gathering of the Death and Disaster series reveals the true reason of the post mortem portrait of Marilyn. Warhol's message did not receive the same immediate impact as Guernica's. It took almost half a century before the multiples of the Car Crash are pushed toward the top position in the art of the twentieth century.
Recuperating the photos published by Life, the Race Riot by Warhol is his most political image, using a historical event in progress. He hates violence and fears death. The running Black is the victim, the dog excited to bite is the symbol of horror.
After painting a few units of the Race Riot, Warhol made in 1964 a multiple 2 x 2. In the top register, white color is the truth and blue is chilling. On the down side the double red is blood.
This quadruple Race Riot, 152 x 168 cm overall, is for sale on May 13 at Christie's in New York. The estimate of $ 50M was released by Christie's in an interview with the Wall Street Journal.
I invite you to play the video shared by Christie's to introduce this lot.
POST SALE COMMENT
The quad of Race Riot is a major piece by Warhol, sold for $ 63M including premium.
This report possibly had the strongest political impact in the history of the press. Kennedy understood that the reforms of laws and behaviors are inevitable. The road will be long, but civil peace will eventually settle. These photos made by Charles Moore for Associated Press are the Guernica of America.
At the same time, Andy Warhol releases the real meaning of his own artistic message. Consumerism is an artifact, advertising is a technique which however has the merit of having shown the expressive power of the multiple image.
Andy chose his press photos around the theme of death in America. The gathering of the Death and Disaster series reveals the true reason of the post mortem portrait of Marilyn. Warhol's message did not receive the same immediate impact as Guernica's. It took almost half a century before the multiples of the Car Crash are pushed toward the top position in the art of the twentieth century.
Recuperating the photos published by Life, the Race Riot by Warhol is his most political image, using a historical event in progress. He hates violence and fears death. The running Black is the victim, the dog excited to bite is the symbol of horror.
After painting a few units of the Race Riot, Warhol made in 1964 a multiple 2 x 2. In the top register, white color is the truth and blue is chilling. On the down side the double red is blood.
This quadruple Race Riot, 152 x 168 cm overall, is for sale on May 13 at Christie's in New York. The estimate of $ 50M was released by Christie's in an interview with the Wall Street Journal.
I invite you to play the video shared by Christie's to introduce this lot.
POST SALE COMMENT
The quad of Race Riot is a major piece by Warhol, sold for $ 63M including premium.
1966 Four Marlons by Warhol
2014 SOLD for $ 70M including premium by Christie's
narrated in 2020
Andy Warhol is an interpreter of the society of his time. He was a film buff and the pictorial images which made him famous in 1962 were a last resort. He multiplies cinematographic experiences as producer and director and announces in 1965 that he will devote himself entirely to cinema, with a clear tendency for the underground.
The star actor of the Warhol generation is Marlon Brando. In 1953 in The Wild One, Brando and his gang of bikers embody the rebellion against the established order. The young man's relentless gaze symbolizes the new force that can overturn the civilization.
Cinema occupies a large place in Warhol's pictorial art. Even Elvis, the king of music hall, is shown by an image taken from a movie. In 1963 Warhol chose an advertising image for The Wild One, showing Marlon from the front, on his motorcycle. With his leather jacket and his cap, he is the archetype of the new lawless thug. Andy then makes a single painting, on a silver background.
Warhol resumes in 1966 the theme of Marlon, with the same image. Contrary to his habits, he seems to have chosen to revisit this theme himself, without a commission from a dealer and without a prompting from a friend.
He prepares eight opuses of this Marlon by screen printing on raw unprimed linen, bringing a strange color as well as a great shine, with or without the large empty margin designed to unbalance the reading of the image. Only three of them are repeated images.
A Marlon with a left margin, 104 x 117 cm, was sold for $ 23.7M including premium by Christie's on November 14, 2012. A double Marlon 213 x 243 cm with a very wide margin on the left was sold for $ 32.5M including premium on May 13, 2008, also by Christie's.
The two by two quad 206 x 165 cm without margins has no equivalent in that theme. It was sold for $ 70M including premium by Christie's on November 12, 2014, lot 10.
The star actor of the Warhol generation is Marlon Brando. In 1953 in The Wild One, Brando and his gang of bikers embody the rebellion against the established order. The young man's relentless gaze symbolizes the new force that can overturn the civilization.
Cinema occupies a large place in Warhol's pictorial art. Even Elvis, the king of music hall, is shown by an image taken from a movie. In 1963 Warhol chose an advertising image for The Wild One, showing Marlon from the front, on his motorcycle. With his leather jacket and his cap, he is the archetype of the new lawless thug. Andy then makes a single painting, on a silver background.
Warhol resumes in 1966 the theme of Marlon, with the same image. Contrary to his habits, he seems to have chosen to revisit this theme himself, without a commission from a dealer and without a prompting from a friend.
He prepares eight opuses of this Marlon by screen printing on raw unprimed linen, bringing a strange color as well as a great shine, with or without the large empty margin designed to unbalance the reading of the image. Only three of them are repeated images.
A Marlon with a left margin, 104 x 117 cm, was sold for $ 23.7M including premium by Christie's on November 14, 2012. A double Marlon 213 x 243 cm with a very wide margin on the left was sold for $ 32.5M including premium on May 13, 2008, also by Christie's.
The two by two quad 206 x 165 cm without margins has no equivalent in that theme. It was sold for $ 70M including premium by Christie's on November 12, 2014, lot 10.
1986 Sacrifice and Sharing
2017 SOLD for $ 61M including premium
Shy and famous at the same time, Andy Warhol was discussing with friends throughout his career before selecting his most popular themes. The story of the dollar at the very beginning of his realization of multiples is typical. In 1985 the gallery owner Alexander Iolas suggests a new theme of interpretations of Leonardo's Last Supper to be exhibited in Milan across the street from the permanent location of the original.
Warhol is working hard on this project that had everything to seduce him. For devout Catholics the Last Supper is the founding act of the mystical Christianity by which Christ announces his death and resurrection and especially his sharing with the whole mankind.
Warhol had himself something like a resurrection in 1968 when his heart restarted after the assassination attempt. He felt that he was going to die during the surgical operation of his gallbladder which was inevitable but was constantly postponed by him. This intuition was right.
In that impulse Warhol realized about 100 variations around Leonardo's Last Supper in 1986 while about 20 were enough for the Milan exhibition. He did not take as model the original painting but two poor photographs of old copies. This final project brilliantly terminates his own pop art revolution by which the visual message and the ability to copy and multiply it are more important than the skill even when the artist is Leonardo himself.
This series includes a few monumental pieces in a perfect repetition that reaches the infinite. Christ 112 times in yellow which is a reproduction of a detail measures 203 x 1069 cm. This artwork was sold for $ 9.5M including premium by Sotheby's on May 14, 2008.
On November 15 in New York, Christie's sells as lot 13 B a multiplication of the entire picture, Sixty Last Suppers. This 295 x 998 cm canvas which is undoubtedly the largest in the series and perhaps even in his entire career in terms of surface was not included in the Milan exhibition. Please watch the video shared by Christie's.
Warhol is working hard on this project that had everything to seduce him. For devout Catholics the Last Supper is the founding act of the mystical Christianity by which Christ announces his death and resurrection and especially his sharing with the whole mankind.
Warhol had himself something like a resurrection in 1968 when his heart restarted after the assassination attempt. He felt that he was going to die during the surgical operation of his gallbladder which was inevitable but was constantly postponed by him. This intuition was right.
In that impulse Warhol realized about 100 variations around Leonardo's Last Supper in 1986 while about 20 were enough for the Milan exhibition. He did not take as model the original painting but two poor photographs of old copies. This final project brilliantly terminates his own pop art revolution by which the visual message and the ability to copy and multiply it are more important than the skill even when the artist is Leonardo himself.
This series includes a few monumental pieces in a perfect repetition that reaches the infinite. Christ 112 times in yellow which is a reproduction of a detail measures 203 x 1069 cm. This artwork was sold for $ 9.5M including premium by Sotheby's on May 14, 2008.
On November 15 in New York, Christie's sells as lot 13 B a multiplication of the entire picture, Sixty Last Suppers. This 295 x 998 cm canvas which is undoubtedly the largest in the series and perhaps even in his entire career in terms of surface was not included in the Milan exhibition. Please watch the video shared by Christie's.
