Premium pages left without account:

Auction archive: Lot number 117

Andy Warhol

Estimate
US$800,000 - US$1,200,000
Price realised:
n. a.
Auction archive: Lot number 117

Andy Warhol

Estimate
US$800,000 - US$1,200,000
Price realised:
n. a.
Beschreibung:

Andy Warhol Jackie 1964 Acrylic and silkscreen ink on linen. 20 x 16 1/8 in. (50.8 x 41 cm).
Provenance Leo Castelli Gallery, New York; David Pincus, Philadelphia; Gian Enzo Sperone, Rome; Toni Cordero Turin Exhibited Philadelphia, Institute of Contemporary Art, Andy Warhol October 8 – November 21, 1965; Philadelphia Museum of Art, Silkscreen: History of a Medium, December 17, 1971- February 27, 1972 Literature Institute of Contemporary Art, ed., Andy Warhol Philadelphia, 1965, pl. 21; R. Crone, Warhol, New York, 1970, cat. no. 120; Philadelphia Museum of Art, ed., Silkscreen: History of a Medium, Philadelphia, 1971, cat no. 232; G. Frei and N. Printz, The Andy Warhol Catalogue Raisonné, Vol.02A, Paintings and Sculptures 1964-1969, New York, 2004, Jackie cat. no. 1202 Catalogue Essay In the face of the woman whose feelings were reproduced in all the media to such an extent that no better historical document on the exhibitionism of American emotional values is conceivable. R. Crone, Warhol, New York, 1970, p. 29 Andy Warhol began his 1964 series of paintings of Jackie Kennedy taken from newspaper photos from shortly before, during and immediately after the murder of President John F. Kennedy on November 22, 1963. Out of all of the available imagery surrounding the tragedy, Warhol carefully chose eight photographs of the First Lady to use in his paintings. The image used in the present lot was taken from a newspaper photograph of Jackie immediately after her husband’s death when she was on board Airforce One standing next to Vice President Lyndon B. Johnson as he took the oath of office as President. Jackie was still wearing the same blood-stained pink suit that she had worn while riding in the motorcade when her husband was shot. According to Lady Bird Johnson’s diary, Jackie refused to change saying “I want them to see what they have done to Jack.” This powerful moment is captured elegantly in Warhol’s canvas. Silkscreened in black over blue, Warhol employed this economy of means to create a compelling and unforgettable image. The muted blue and the black of the background and Jackie’s hair combine to create a simple, poignant reflection of loss, accentuated by the close composition cropping around the First Lady’s head. All of the details of the moment—the plane, the future president, and all but the collar of the blood stained suit- are removed from the frame and so complete focus is on Jackie. With her head cast downward and her dark hair partially shielding her eye, Jackie’s intensity is emphasized in Warhol’s cropping, creating the iconic image of Jackie standing in for a nation in mourning. It is not just a portrait of Jackie, but a portrait of America with its innocence lost and its unbelievable sadness. Warhol’s paintings of Jackie are a central part in his oeuvre, along the lines of his Soup Cans, and Jackie is often referred to as one of the three ‘Women of Warhol’ along with stars Marilyn Monroe and Liz Taylor. “The images of Marilyn, Liz and Jackie, like the Soup Cans, are consumed by the public in mass doses. Yet through Andy’s paintings, they have taken on new meaning. These frozen images are modern-day Madonnas. Andy was a strict Catholic. His Marilyn, Liz and Jackie became religious relics and, like Leonardo’s La Gioconda, they are portraits of women radiating beauty. They are not public stars but are Andy’s paintings, icons of our time. They are, in essence, holy.” (P. Brant, “Uh, Let’s Go,” Women of Warhol: Marilyn, Liz & Jackie, New York, 2000, n.p.) The painting of Jackie in the present lot particularly fits this description as religious icon as Warhol was so astute to recognize her, and this image of her, as the symbol of the feelings of the whole country upon the death of our president. While she still has equal beauty, glamour, and fame to Liz Taylor and Marilyn Monroe she is called upon to be more—to intercede on our behalf with God, to carry our sorrow, to be the image of our pain. The quiet beauty of this small painting holds all of the transformative capacity of a religious relic. An eth

Auction archive: Lot number 117
Auction:
Datum:
13 May 2010
Auction house:
Phillips
13 May 2010 New York
Beschreibung:

Andy Warhol Jackie 1964 Acrylic and silkscreen ink on linen. 20 x 16 1/8 in. (50.8 x 41 cm).
Provenance Leo Castelli Gallery, New York; David Pincus, Philadelphia; Gian Enzo Sperone, Rome; Toni Cordero Turin Exhibited Philadelphia, Institute of Contemporary Art, Andy Warhol October 8 – November 21, 1965; Philadelphia Museum of Art, Silkscreen: History of a Medium, December 17, 1971- February 27, 1972 Literature Institute of Contemporary Art, ed., Andy Warhol Philadelphia, 1965, pl. 21; R. Crone, Warhol, New York, 1970, cat. no. 120; Philadelphia Museum of Art, ed., Silkscreen: History of a Medium, Philadelphia, 1971, cat no. 232; G. Frei and N. Printz, The Andy Warhol Catalogue Raisonné, Vol.02A, Paintings and Sculptures 1964-1969, New York, 2004, Jackie cat. no. 1202 Catalogue Essay In the face of the woman whose feelings were reproduced in all the media to such an extent that no better historical document on the exhibitionism of American emotional values is conceivable. R. Crone, Warhol, New York, 1970, p. 29 Andy Warhol began his 1964 series of paintings of Jackie Kennedy taken from newspaper photos from shortly before, during and immediately after the murder of President John F. Kennedy on November 22, 1963. Out of all of the available imagery surrounding the tragedy, Warhol carefully chose eight photographs of the First Lady to use in his paintings. The image used in the present lot was taken from a newspaper photograph of Jackie immediately after her husband’s death when she was on board Airforce One standing next to Vice President Lyndon B. Johnson as he took the oath of office as President. Jackie was still wearing the same blood-stained pink suit that she had worn while riding in the motorcade when her husband was shot. According to Lady Bird Johnson’s diary, Jackie refused to change saying “I want them to see what they have done to Jack.” This powerful moment is captured elegantly in Warhol’s canvas. Silkscreened in black over blue, Warhol employed this economy of means to create a compelling and unforgettable image. The muted blue and the black of the background and Jackie’s hair combine to create a simple, poignant reflection of loss, accentuated by the close composition cropping around the First Lady’s head. All of the details of the moment—the plane, the future president, and all but the collar of the blood stained suit- are removed from the frame and so complete focus is on Jackie. With her head cast downward and her dark hair partially shielding her eye, Jackie’s intensity is emphasized in Warhol’s cropping, creating the iconic image of Jackie standing in for a nation in mourning. It is not just a portrait of Jackie, but a portrait of America with its innocence lost and its unbelievable sadness. Warhol’s paintings of Jackie are a central part in his oeuvre, along the lines of his Soup Cans, and Jackie is often referred to as one of the three ‘Women of Warhol’ along with stars Marilyn Monroe and Liz Taylor. “The images of Marilyn, Liz and Jackie, like the Soup Cans, are consumed by the public in mass doses. Yet through Andy’s paintings, they have taken on new meaning. These frozen images are modern-day Madonnas. Andy was a strict Catholic. His Marilyn, Liz and Jackie became religious relics and, like Leonardo’s La Gioconda, they are portraits of women radiating beauty. They are not public stars but are Andy’s paintings, icons of our time. They are, in essence, holy.” (P. Brant, “Uh, Let’s Go,” Women of Warhol: Marilyn, Liz & Jackie, New York, 2000, n.p.) The painting of Jackie in the present lot particularly fits this description as religious icon as Warhol was so astute to recognize her, and this image of her, as the symbol of the feelings of the whole country upon the death of our president. While she still has equal beauty, glamour, and fame to Liz Taylor and Marilyn Monroe she is called upon to be more—to intercede on our behalf with God, to carry our sorrow, to be the image of our pain. The quiet beauty of this small painting holds all of the transformative capacity of a religious relic. An eth

Auction archive: Lot number 117
Auction:
Datum:
13 May 2010
Auction house:
Phillips
13 May 2010 New York
Try LotSearch

Try LotSearch and its premium features for 7 days - without any costs!

  • Search lots and bid
  • Price database and artist analysis
  • Alerts for your searches
Create an alert now!

Be notified automatically about new items in upcoming auctions.

Create an alert