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Lot 791
Warhol, Andy (American, 1928-1987). Mao #99. Signed verso: Andy Warhol; and numbered verso: 169/250. Acrylic and silkscreen on white paper. 36 x 36". Framed to an overall size of 44 x 44". In fine to very fine condition overall.
Note: Copyright 1972, printed by Styria Studio.
Comprehensive condition report available upon request.
(1928-1987) American artist and filmmaker, an initiator and leading exponent of the Pop art movement of the 1960s. Through calculated self-promotion, he projected the image of the artist as a celebrity, astute businessman, and social climber.
In 1965 Andy Warhol announced his retirement. Though he did continue to work sporadically, his announcement was most certainly premature. And in 1972 Andy Warhol chose to return to painting by presenting a monumental, or, iconic portrait: that of Mao Tse Tung.
While shocking as it might have been to immortalize such a controversial political figure, Warhol had well established a factory of art based on producing unconventional imagery, or rather, imagery that was so conventional it almost seemed void of artistic notice. While it is entirely possible that Warhol could have been commenting on the decadent lifestyle of the West, of which he had clearly partaken, it is more likely that he chose this image for more simplistic reasons.
First, Warhol himself is oft quoted flatly denying any deep meaning to his choices, stating: "If you want to know all about Andy Warhol, just look at the surface of my paintings and me, and there I am. There's nothing behind it." (italics added). In fact, from soup cans to car crashes, the artist had long favored using the "found object" in his artwork rather than dreaming up his own unique compositions, even to the point of asking others to suggest subjects to portray. He likewise preferred to take the practice one step further, by reproducing objects from images in photographs, effectively removing himself from the actual creation of an image; which is the case here. Warhol's inspiration derived from an official government portrait.
Most importantly though, is the fact that Warhol had already announced his retirement. After his noteworthy career of exploring printmaking, this monumental painting heralds Warhol's return to art, and it does so by presenting a strong image of power to announce, or equal even, this reemergence back into the artworld. The artist is not making a political statement, he's making a personal statement.
While Warhol did utilize the familiar printmaking format for this series, the post-retirement Mao's are marked by a new style, of freer brushwork. In contrast to the factory-produced images of his earlier career, Warhol added his own hand-painted strokes over the screened image, and this was an impressive change to his portraits. Warhol was returning to artwork, rather than just printmaking.
Estimated Value $4,000-UP.
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