David LaChapelle on Taking the Last Portrait of Andy Warhol
Andy Warhol (1928-1987)
Colored Mona Lisa
signed and dated 'Andy Warhol 1963' (on the reverse)
silkscreen inks and graphite on canvas
125 7/8 x 82 1/8 in. (319.7 x 208.6 cm.)
Painted in 1963.
Signature: signed and dated 'Andy Warhol 1963' (on the reverse)
Washington Gallery of Modern Art, The Popular Image, April-June 1963, no. 47.
Buffalo, Albright-Knox Gallery, Mixed-Media and Pop Art, November-December 1963, no. 72.
New York, Whitney Museum of American Art, Art about Art, July-September 1978, no. 5 (illustrated in color).
New York, Blum Helman Gallery, POP, March-April 1982.
Fort Lauderdale, Museum of Art, An American Renaissance, January-March 1986, pl. 58 (illustrated in color).
New York, Museum of Modern Art and Paris, Centre Georges Pompidou, Andy Warhol: A Retrospective, February 1989-September 1990, p. 237, no. 238 (illustrated in color).
Tokyo-Shinjuku, Isetan Museum of Art; Sakura, Chiba, Kawamura Memorial Museum of Art and Kitakyushu Municipal Museum of Art, Pop Muses: Images by Roy Lichtenstein and Andy Warhol, August 1991-January 1992, pp. 111 and 144, no. 33 (illustrated in color).
Paris, Musée du Louvre, Copier créer: de Turner à Picasso, April-July 1993, p. 427, no. 310 (illustrated in color).
Lucerne, Kunstmuseum, Andy Warhol: Paintings 1960-1986, July-September 1995, p. 106, no. 25 (illustrated in color).
Tokyo, Museum of Contemporary Art; Fukuoka Museum of Art and Kobe, Hyogo Prefectural Museum of Modern Art, Andy Warhol 1956-86: Mirror of His Time, April-November 1996, pp. 82 and 315, no. 72 (illustrated in color).
Seattle Art Museum, Leonardo Lives: The Codex Leicester and Leonardo da Vinci's Legacy of Art and Science, October 1997-January 1998, pp. 51-52 and 69, pl. 8, no. 45 (illustrated in color).
Stockholm, Moderna Museet, In the Power of Painting: A Selection from the Daros Collection, February-March 2000, pp. 24 and 65 (illustrated in color).
Zurich, Daros Exhibitions, Warhol, Polke, Richter: In the Power of Painting 1, May-September 2001, pp. 29 and 67 (illustrated in color).
J. Coplans, Andy Warhol, New York, 1970, p. 85 (illustrated in color).
R. Crone, Andy Warhol, Teufen, 1970, pp. 136 and 292, no. 128 (illustrated).
Warhol, exh. cat., London, Tate Gallery, 1971, pp. 26 and 97, fig. 10 (illustrated in color).
_American Pop Art,_exh. cat., New York, Whitney Museum of American Art, 1974, no. 6 (illustrated).
X. Gilles, "Mao, Warhol, Mao, Warhol...," _L'Oeil,_no. 226, May 1974, p. 29, no. 5 (illustrated).
C. Ratcliff, Andy Warhol, New York, 1983, p. 37, fig. 32 (illustrated in color).
P. S. Smith, Andy Warhol's Art and Films, Ann Arbor, 1986, pp. 172 and 173, fig. 46 (illustrated).
D. Bourdon, Warhol, New York, 1989, p. 161, no. 156 (illustrated in color).
G. Garrels, ed., The Work of Andy Warhol, New York, 1989, p. 158, fig. 47 (illustrated).
M. Livingstone, Pop Art: A Continuing History, London, 1990, pp. 118 and 269, fig. 164 (illustrated in color).
E. Shanes, _Warhol,_New York, 1991, pp. 85 and 143 (illustrated in color).
B. Rougé, "Art Américain, ironie et collage," _Artstudio,_no. 23, Winter 1991, p. 83 (illustrated).
Andy Warhol: Retrospektiv, exh. cat., Deichtorhallen Hamburg, 1993, p. 35 (illustrated).
L. Romain, Andy Warhol, Munich, 1993, pp. 99 and 189, fig. 77 (illustrated in color).
M. Yonekura, _Andy Warhol,_Tokyo, 1993, no. 40 (illustrated in color).
Andy Warhol Art from Art: Unique Screenprints, Drawings, and Collages 1963-1986, exh. cat., Cologne, 1994, p. 19, no. 2 (illustrated in color).
T. Copplestone, _The Life and Works of Andy Warhol,_Bristol, 1995, p. 33 (illustrated in color).
_Andy Warhol: Heads (After Picasso),_exh. cat., Paris, Galerie Thaddeus Ropac, 1997, pp. 18 and 24, no. 2 (illustrated).
G.M., "Schmidheiny Collection," _Die Welt,_3 May 2001, p. 41.
P. Fischer, Warhol: The American Dream, Zurich, 2001, n.p. (illustrated in color).
G. Frei and N. Printz, eds., The Andy Warhol Catalogue Raisonné of Paintings and Sculpture 1961-1963, vol. 1, New York, 2002, pp. 293-294 and 300, no. 327 (illustrated in color).
E. Shanes, Andy Warhol: The Life and Masterworks, New York, 2004, pp. 138-139, and 206 (illustrated in color).
The Andy Warhol Show, exh. cat., Milan, 2004, p. 306, no. 242 (illustrated in color).
R. Atwan, Convergences, Message, Method, Medium, Boston, 2005, p. 115 (illustrated in color).
D. Hickey, et. al., Andy Warhol: "Giant" Size, Berlin, 2008, p. 205 (illustrated in color).
_Roy Lichtenstein: Meditations on Art,_exh. cat., Milan, La Triennale di Milano, January-May 2010, p. 43 (illustrated in color).
Warhol Headlines, exh. cat., Washington, D.C., National Gallery of Art, 2011, p. 33, fig. 12 (illustrated in color).
Eleanor Ward, New York
Leo Castelli Gallery, New York
Blum Helman Gallery, New York
Thomas Ammann Fine Art, Zurich
Daros Collection, Zurich
Acquired from the above by the present owner
Obsessed with celebrity, consumer culture, and mechanical (re)production, Pop artist Andy Warhol created some of the most iconic images of the 20th century. As famous for his quips as for his art—he variously mused that “art is what you can get away with” and “everyone will be famous for 15 minutes”—Warhol drew widely from popular culture and everyday subject matter, creating works like his 32 Campbell's Soup Cans (1962), Brillo pad box sculptures, and portraits of Marilyn Monroe, using the medium of silk-screen printmaking to achieve his characteristic hard edges and flat areas of color. Known for his cultivation of celebrity, Factory studio (a radical social and creative melting pot), and avant-garde films like Chelsea Girls (1966), Warhol was also a mentor to artists like Keith Haring and Jean-Michel Basquiat. His Pop sensibility is now standard practice, taken up by major contemporary artists Richard Prince, Takashi Murakami, and Jeff Koons, among countless others.
American, 1928-1987, Pittsburgh, Pennsylvania, based in New York, New York
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