Colour: The odd one

out of the 10 prints

is black and white,
shows relation to
celebrities life and
death.

Here, Warhol has

experimented with
analogous colours the
green, yellow and orange

Hardy, J. (2014). Marilyn's Ten Prints. Retrieved

February 27, 2015, from
https://www.pinterest.com/pin/54606214201867829/

Colour: Red is dominant in all

prints except the black and
white. Warhol wanted to use
red as symbolism for blood
during his "death and disaster"
series. He also worked in
commercial art and realized the
audience reacted strongly
towards red.

Composition: Marilyn is in the

foreground, taken by a tightly
dropped photo to fill up all the
background. All her features are
made of solid colours, nothing is
blended

Emphasis of her attributes; Her

eye shadow, the mole, her lips and
hair

The colours are said to draw out

different peoples moods; for exam
the black and white print makes yo
think of sadness and the red and gr
one on the far left makes you think
anger (Darwin, 2012)

Wherever there is red, it is

alongside its complementary
colour green.

Note: The screen-prints are all experiments

The choice of colours is interesting as the colors

complement each other highlighting the features of her
face. As she was the face of beauty during the 60s
women looked up to her, wanted to be her etc.

Composition: The placement of the head creates a vocal point, as the

chosen print has matching hair and eye shadow it almost blends
together

The essential background of the Van Gogh, sunflower

painting is a lot brighter than the original, this
contrasts the morbid nature of both the artists death
and provides an in depth representation of both artists
being presented as happy but sad and dying on the
inside

The curves of the

eyebrows,
juxtaposed with
the curves of the
lips, and the arch
of the eye
shadow is a
symbolism of the
female figure

Marilyns green eye shadow

matches the same green as the
background of the sunflowers:
Sharp always mixed and matched
photographs of artworks which
gave him this inspiration

Colour: warm orange sun-setting

colours convey this idea of happiness
and this is opposed to her death

Art Making Technique:

The flowers have a
sharp brush stroke, that
is evident in the
painting, contrasted
with the soft lines of
Marilyns hair.

The lips have a purpose outline

to show that the prints by Andy
Warhol

Lewis and Sharp have

ironically signed
Vincents name in
the same way.

An echo between Marilyns life and

Vincents Van Goghs, both great
artists, died at a similar age.
Hayes, H. (2014). Still Life. Retrieved March 1, 2015, from "Pop to
Popism":http://www.vacationsandtravelmag.com/Confidential923
PopIntoPopism/1597/359/3/0/0/

Andy Warhols Marilyn

Monroe (1967)
During the 1950's to early 60's a 'cultural revolution' rose up, with Andy Warhol as
the commander and chief of the front line in Pop art. Warhol's piece "Marilyn
Monroe" is the first of many works to overturn conformity of traditional "fine arts"
challenging originality. This, innovation of pop art, emerged from the highly
expressive Abstract expressionism, whose work had dominated post-war art, this
highly contrasted the realism of pop art that celebrated mundane imagery with
hints of irony and wit. Warhol famously stated "But why should I be original? Why
cant I be non-original?"(Wall text, Art Gallery of NSW; Pop to Popism. Visited 19th
February 2015) The idea that originality was the only process to create masterpiece
artwork lead to Warhol thinking outside of the box, contemplating the paradox of
everyone striving to be original (making them unoriginal, because they are all
following each other), then in the same sense, why can't he change the pattern and
be unoriginal. Following world war 2 the united states had an unprecedented
growth in economic and political growth. Most middle classed Americans moved to
suburbia, and the availability of inexpensive mass produced products was praised,
such as televisions. During this time radio was replaced by television as the
dominant media outlet. This lead to growing popularity in music and the film
industry, specifically Marilyn Monroe, an icon worldwide. Andy Warhol, was
inspired by the familiarity Monroe sparked worldwide as an icon. This lead to
experimentation in his art making, through screen-printing. Pop art celebrated
consumerism, everyday items were used as the focus for major works. This was
done in the most bold gesture using bright, clear primary colours, as presented in
the "Marilyn Monroe" prints. These prints of Marilyn challenged the traditional
boundaries between media combining photography and printmaking to create a
new percpectives of Marilyn as icon for the emerging pop culture.

Martin sharp and Tim Lewis

Still Like (1973)
Tim Lewis and Martin Sharp's appropriation of Marilyn
Monroe and Van Gogh's "sunflowers" was derived from
the childhood hobby of Sharp to take images from
artistic magazines and journals and transform these into
original artworks. This is known as appropriation, the
international altering of pre-existent artworks to create a
new meaning to the work. Pop culture absorbed this
technique which acted as a mirror for the ideas and
interactions contained within the original work. The
work "Still life" conveys the idea that Marilyn was a
symbol, for women's role in society. While Sharp claims
his work his based solely on the fact that "Marilyn's
green eye shadow matched the sunflower leaves
perfectly" others claim that the because Lewis and Sharp
were drawn to the swinging sixties, the idea of women's
role in society was to be challenged. Similar to Warhol,
Sharp liked to challenge the social values and
conformities of the art world. The feminity of the woman
transforming after World War 2 and the equality brought
about was a topic Sharp found increasingly interesting.
Lewis and Sharp add another layer of appropriation by
enforcing the precedent that Warhol set before them as
they collage together two mass-produced works to
emphasize the concept of re-contextualizing in Pop Art.

Picture 1:Moffat, C. (2007, November). Marilyn Face. Retrieved March 3, 2015, from
http://www.arthistoryarchive.com/arthistory/popart/Andy-Warhol.html
Picture 2:Hayes, H. (2014). Still Life. Retrieved March 1, 2015, from "Pop to Popism":
http://www.vacationsandtravelmag.com/Confidential923PopIntoPopism/1597/359/3/0/0/

Andy Warhols Marilyn Monroe

Martin Sharp and Tim Lewis Still

Life

Marles, J. (2001). Frame of Still Life. Retrieved March 4, 2015, from

https://www.pinterest.com/memememomomo/reference-imagesframes/

Andy Warhol was motivated by a hunger for

recognition in the artistic world inspired by
Robert Rauschenberg. His Marilyn Monroe
Prints were a statement of the century and
substantial step into pop culture. Warhol
subverted abstract expressionist painting
styles using advertising and comic strips that
were inspired through his career as a
commercial illustrator. The photograph from
which Warhol derived his Marilyn Monroe
prints from a publicity shoot for the film
Niagara made in 1953 by photographer
Gene Korman. The Marilyn Prints were
chosen specifically to mirror contemporary
American visual culture. Marilyn Monroe
was chosen for her influence in Hollywood to
contrast ultimately tragedy and violence
existing in the real world. The idea of illusion
existing in the perfection of Hollywood
contrasted with reality. Warhol wanted to
explore this underlying theme through his
entire body of work. He removed his
presence from the artistic process and
outsourced production of his artworks
through assistants as his studio known as
The Factory. He removed artistic tools such
as the skills of using a paintbrush and
replaced this with mass-production
mechanical devices such as stencils and
rubber stamps. Warhol was especially
interested in Screen-printing as he felt that
the Screen-print was able to highlight the
key features of Marilyn's face (her eye
shadow, lips, hair and mole.) This reaction to
abstract expressionism by pop art
established a precedent justified
appropriation and reinforced the idea of recontextualization, taking every day massproduced items and reinstating them to a
higher level.

Martin Sharp and Tim Lewis collaboration, still life was the appropriation of Van
Goghs sunflower and Andy Warhols Marilyn Monroe as a collage juxtaposing
pictures drawn from both iconic images of modern art history. The contrast of
traditional abstract expressionism of Sunflower and the realism of Marilyn Monroe
highlights the borders that originally Andy Warhol was challenging. Lewis and Sharp
met at the Art Exhibition, held at Bonython galleries, Sydney in 1973 Lewis and Sharp
both attended the Yellow House Gallery for the after party. At the yellow house Lewis
met Martin Sharp who became a long term friend and collaborator both artists
assisted in the creation of Still Life. Sharps psychedelic imagery responded to 1960s
counterculture and LSD experimentation and shows the influence of surrealism within
pop art. By composing Marilyns head onto a vase of Van Goghs Sunflowers makes
the statement of the centaury, questioning Womens role in society. Through a
historical context the sixties was a rise in feminism, the period where women after
being oppressed were finally taking a stand for their rights. Some argue that the sole
purpose of the work is to emphasize the movement that Warhol began as a precedent
through his Marilyn Monroe Prints and bringing in Still Life which highlights the
realism that traditional artists Vincent Van Gogh created and the consumerism Andy
Warhol represented to redefine what originality really means (Parker, 2012). The idea
of bringing an artists from traditional means of art-making and using a modern artist
like Warhol both expressing similar ideas of creating art that essentially has no
meaning and re-contextualizing it, bringing this art to a higher status itself defines
originality as only being original if the artist thought of it first.

Andy Warhols Marilyn Monroe

- A series of experiments
- Contrast of life and death
of the artist (red, black
and white) statement
against the traditional
fine art into pop art
- Silkscreen printing
- Red is dominant
- The ten chosen prints tell
a story of Marilyn's life
(birth, teen years, party, acting
career, marriage, death)

Martin Sharp and Tim Lewis Still

Life
Both use the
appropriation
- A collage of two different
of Marilyn
inspired works Vincent van
Monroe
Both Question
Goghs Sunflower and
of significance
Andy Warhols Marilyn
of originality
Celebration of
Monroe.
mass produced
- Bright oranges and warm
items in
contrast with
yellows contrasted with the
fine art
head of Marilyn .
Challenge the
conformities of
- Symbolism of the female
art as popism
figure
- Brush strokes are evident

Picture 1:Moffat, C. (2007, November). Marilyn Face. Retrieved March 3, 2015, from
http://www.arthistoryarchive.com/arthistory/popart/Andy-Warhol.html
Picture 2:Hayes, H. (2014). Still Life. Retrieved March 1, 2015, from "Pop to Popism":
http://www.vacationsandtravelmag.com/Confidential923PopIntoPopism/1597/359/3/0/0

Bibliography

Andy and OZ: Parallel Visions. (2007, December 30). Retrieved March 1, 2015, from A collaboration between the National Gallery of Australia
and The Andy Warhol Museum Gallery of Australia: http://nga.gov.au/AndyandOz/oz.cfm

Boland, M. (2014, November 1). Pop To Popism Review. Retrieved March 5, 2015, from
http://www.theaustralian.com.au/arts/review/agnsws-pop-to-popism-puts-australian-artists-next-to-warhol-and-co/story-fn9n8gph1227108191506

Carlos, S. (2013, February 2). Van Gogh Gallery. Retrieved March 3, 2015, from
http://www.vangoghgallery.com/painting/sunflowerindex.html

Darwin, J. (2012, August). Andy Warhol's Marilyn. Retrieved February 29, 2015, from http://www.webexhibits.org/colorart/marilyns.html

Dekker, J. (Director). (1987). Jardi Tancat choreographed by Nacho Duato [Motion Picture].

J.L.Morton. (2012, June 8). Colour Logic. Retrieved March 3, 2015, from http://www.colormatters.com/color-and-design/basic-color-theory

The Art Story Foundation. (2014). Andy Warhol. Retrieved February 28, 2015, from http://www.theartstory.org/artist-warhol-andy.htm

Vinch, J. (2014, August). Vincent Van Gough. Retrieved March 5, 2015, from
http://en.wikipedia.org/wiki/Vincent_van_Gogh#Posthumous_fame

Wales, A. G. (2015). Pop to Popism. Retrieved March 3, 2015, from http://www.artgallery.nsw.gov.au/exhibitions/pop-to-popism/

Green, L. (2014, March). MoMA Learning. Retrieved March 12, 2015, from https://www.moma.org/learn/moma_learning/themes/pop-art

Osterwold, T. (1999). Pop Art. In T. Osterwold, Pop Art (pp. 18-32). Venice: Gachen Co.

Parker, J. (2012). MoMA Pop-Art Appropriation. Retrieved March 14, 2015, from http://www.moma.org/learn/moma_learning/themes/popart/appropriation

Peters, J. (2014). Arty Factory - Pop Art History. Retrieved March 11, 2015, from
http://www.artyfactory.com/art_appreciation/art_movements/pop_art.htm

Art Gallery of New South Wales; Pop to Popism, 2014

Picture:

Hardy, J. (2014). Marilyn's Ten Prints. Retrieved February 27, 2015, from https://www.pinterest.com/pin/54606214201867829/

Hayes, H. (2014). Still Life. Retrieved March 1, 2015, from "Pop to Popism":
http://www.vacationsandtravelmag.com/Confidential923PopIntoPopism/1597/359/3/0/0/

Jagunich, J. (1999). JeffJag.com. Retrieved March 3, 2015, from http://jeffjag.com/2d_digital_art1.php

Marles, J. (2001). Frame of Still Life. Retrieved March 4, 2015, from https://www.pinterest.com/memememomomo/reference-imagesframes/

Moffat, C. (2007, November). Marilyn Face. Retrieved March 3, 2015, from http://www.arthistoryarchive.com/arthistory/popart/AndyWarhol.html

Prints, A. W. (2011). Marilyn Monroe, print of 4. Retrieved Febuary 26, 2015, from Melbourne Museum of Contemporary Art:
http://becuo.com/pop-art-andy-warhol-marilyn-monroe