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Andy Warhol – Polaroids

PUBLISHED IN: Catalogs

Available works by Andy Warhol

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<div><font face="Times New Roman" size=3 color=black>Andy Warhol’s “<em>Ryuichi Sakamoto”</em> from 1983, a vibrant 40 by 40 inch canvas, captures the Japanese composer and electronic-music pioneer in the artist’s signature Pop-Art idiom, transforming a celebrity photograph into a study of color, repetition, and glamour. </font></div>
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<br><div><font face="Times New Roman" size=3 color=black>The composition highlights Sakamoto’s stylized face, rendered with precise silkscreen outlines. His dark, textured hair is set against a peach panel, intersected by a white triangular section. Warhol enhanced the silkscreen process with hand-drawn touches that heighten Sakamoto’s facial features. Blending mechanical and manual techniques gives the portrait both the polish of a silkscreen print and the tactility of a painting.</font></div>
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<br><div><font face="Times New Roman" size=3 color=black>By the 1980s, Ryuichi Sakamoto was celebrated worldwide as co-founder of Yellow Magic Orchestra and for his pioneering solo work in electronic, orchestral, and film-score composition. By choosing one of the few non-Western, male subjects in Warhol’s roster, he acknowledged Sakamoto’s global influence and beauty, making this portrait especially rare in the artist’s oeuvre. Part of a broader series of celebrity portraits alongside icons like Mick Jagger, Debbie Harry, and Prince, “<em>Ryuichi Sakamoto”</em> exemplifies Warhol’s fascination with fame as commodity, screen-printing public personas to interrogate the intersection of art, commerce, and media.</font></div>
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<br><div><font face="Times New Roman" size=3 color=black>A lithographic version of this painting is held by the Tate London and the National Galleries of Scotland, affirming its cultural significance.</font></div>
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<br><div><font face="Times New Roman" size=3 color=black>This work stands as both a vibrant homage to one of music’s most innovative figures and a testament to Warhol’s enduring exploration of image-making. Its bold palette and iconic subject continue to resonate in contemporary collections seeking a nexus of music history, Pop-Art heritage, and cross-cultural dialogue.</font></div>

Ryuichi Sakamoto

39 3/4 x 39 3/4 x 1 1/2 in.

acrylic and silkscreen on canvas

Andy Warhol is synonymous with American art in the second half of the 20th century and is known for his iconic portraits and consumer products, mixing popular culture and fine art, redefining what art could be and how we approach art. While many of Warhol’s works may not represent famed individuals, his depictions of inanimate objects elevate his subjects to a level of celebrity. Warhol first depicted shoes early in his career when he worked as a fashion illustrator and returned to the theme in the 1980s, combining his fascination with consumerism and glamour. With his constant desire to fuse high and low culture, Warhol chose to highlight something that is so ubiquitous as shoes. The subject can denote poverty or wealth, function, or fashion. Warhol glamorizes the pile of footwear, covering them with a patina of glitzy diamond dust, further blurring the meaning between utilitarian need and stylized statement piece.

Diamond Dust Shoes (Black and White)

40 x 59 1/2 in.

screenprint with diamond dust

ANDY WARHOL - Mick Jagger - screenprint in colors - 43 5/8 x 28 3/4 in.

43 5/8 x 28 3/4 in.

screenprint in colors

ANDY WARHOL - Howdy Doody - screenprint - 38 x 38 in.

ANDY WARHOL - Ford car - graphite on paper - 11 1/2 x 15 3/4 in.

11 1/2 x 15 3/4 in.

graphite on paper

Andy Warhol's Campbell's Soup Cans series marks a pivotal moment in his career and the Pop Art movement. The series, consisting of 32 canvases, each depicting a different flavor, revolutionized the art world by elevating mundane, everyday consumer goods to the status of high art. The screen print Pepper Pot from 1968 employs his signature style of vivid, flat colors and repeated imagery, characteristic of mass production and consumer culture. Screen printing, a commercial technique, aligns with Warhol's interest in blurring the lines between high art and commercial art, challenging artistic values and perceptions.

Pepper Pot from Campbell's Soup

screenprint in colors

It is remarkable the speed with which the art world embraced Andy Warhol after July 1962 when his paintings of thirty-six paintings of Campbell's Soup Cans were displayed at The Ferus Gallery in Los Angeles. Among his last hand-painted works, Warhol soon discovered silkscreen, the medium with which he is most closely associated. Whereas the handcrafted soup-can paintings look mechanically produced, the silkscreen was a mechanical and commercial process that enabled Warhol to produce unlimited precise repetitions and variations of key subjects. As one of the 32 original varieties, Vegetable remains a pop culture phenomenon, turning up on everything from plates and mugs to neckties, t-shirts, and surfboards.

Campbell's Soup I: Vegetable Soup

screenprint on paper

ANDY WARHOL - Northwest Coast Mask - screenprint in colors on Lenox Museum Board - 38 x 38 in.

Northwest Coast Mask

screenprint in colors on Lenox Museum Board

Warhol's "Electric Chair" is undoubtedly the most macabre of Warhol's 70-odd paintings and prints from the Death and Disaster series yet its brilliant colors bring a stark, ameliorating contrast to the subject matter. The irony is that repetition and the mechanized purity of screen-prints that elevated Campbell's soup cans to fine art status serve a different purpose here. They act as desensitizing agents that, by degrees, create emotional separation from the gruesome, the macabre, death and mortality. As if to further declare his intentions, Warhol reduced the cavernous room of earlier iterations to a shallow plane, giving a more tightly focused view of the chair itself, its morbidity meliorated under blocks of yellow, pink, blue, and orange.

35 3/8 x 47 3/4 in.

screenprint in colors on woven paper

ANDY WARHOL - The Shadow (from Myths) - color screenprint with diamond dust on paper - 37 1/2 x 37 1/2 in.

The Shadow (from Myths)

37 1/2 x 37 1/2 in.

color screenprint with diamond dust on paper

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