![Liz #3 [Early Colored Liz], Andy Warhol, 1963](/api/img?u=https%3A%2F%2Fwww.artic.edu%2Fiiif%2F2%2F362c0c2a-4576-2207-4ba9-2b87e6d0bad0%2Ffull%2F843%2C%2F0%2Fdefault.jpg)
Andy WarholVerenigde Staten, 1928–1987Liz #3 [Early Colored Liz]
Kan ik het zien?
Ja, nu te zien
Waar is „Liz #3 [Early Colored Liz]” nu? Art Institute of Chicago, Zaal 296, Chicago. Ja, nu te zien. Gecontroleerd 29 september 2026.
Chicago, Verenigde Staten
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Over het schilderij
Pop Art icon Andy Warhol’s embrace of mass culture radically altered the course of late twentieth-century art history, redefining both what a work of art can or should depict as well as the way in which it can be made. His breakthrough artistic moment came when he took the commercial printing process of photo-emulsion silkscreen and applied it to canvas. This allowed him to reproduce the same image over and over, quickly and efficiently.
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Warhol celebrated both products and personalities, giving equal weight to soup cans and movie stars. He began using images of Elizabeth Taylor in early 1962. Her beauty and allure fueled interest in the sordid tragedies of her personal life, which included failed marriages, love affairs, and a near-death experience that occurred while filming Cleopatra (1963). Liz #3 [Early Colored Liz] comes from a series of thirteen canvases, each with the same image of Taylor set before a jewel-toned background. Warhol used a preexisting publicity still of Taylor as his source material, which he cropped and then enlarged so that the actress literally fills the screen. Her signature features — her eyes and lips — have been accentuated with colors that hover between vibrant and vulgar. This garish use of “makeup” is meant to suggest style and glamor, reinforcing Taylor’s celebrity status.
Art Institute of ChicagoCC BY 4.0
Gegevens
- Inventarisnummer
- 2015.160
Wat het toont
In de catalogus
Bronnen
- Art Institute of Chicago
- Afbeelding: Art Institute of Chicago — © the artist or rights holder
In het leven van Andy Warhol
Het hele leven1961
Besluit geld te schilderen
Na een bezoek in december 1961 aan Claes Oldenburgs installatie ‘Магазин’ keert Warhol wanhopig huiswaarts, overtuigd dat zijn stripschilderijen niet oorspronkelijk genoeg zijn. Hij volgt de schertsende raad van Muriel Flatow, gegeven voor 50 dollar, om te schilderen wat hij het liefste heeft, geld, en begint dollarbiljetten af te beelden.
1961–1962
Mastering silkscreen
Seeking technical advice, Warhol turned to Floriano Vecchi of Tiber Press, who showed him the basics of silkscreen printing: transferring designs to acetate, preparing screens and pulling ink with a squeegee. The experiments became a turning point and soon led to some of his earliest silkscreen works.
9 July 1962
Soup cans at the Ferus Gallery
The Los Angeles dealer Irving Blum, surprised that Warhol had no gallery, offered him a solo show at the Ferus Gallery. Warhol sent 32 canvases, one for each variety of Campbell's soup; the exhibition opened on 9 July 1962 and marked his West Coast debut.
1962
“The New Realists” at the Sidney Janis Gallery
Invited by the dealer Sidney Janis, Warhol took part in the exhibition The New Realists, showing 200 Soup Cans, Big Campbell's Soup Can 19c (Beef Noodle) and Do It Yourself (Flowers). The show was widely seen as a turning point for the acceptance of Pop art: The New Yorker likened its effect on the New York art world to an “earthquake”.
1964
The Factory on 47th Street
By 1964 Warhol had moved his studio to 231 East 47th Street, which became known as the Factory; Billy Name covered it in aluminium foil and silver paint. The poet Gerard Malanga helped him with silkscreens and films, and working with assistants became a lasting feature of his method.
1965
Paris: announcing his retirement from painting
The second Flowers series was shown at Galerie Ileana Sonnabend in Paris; during the trip Warhol announced that he was retiring from painting to focus on film, saying he no longer believed in painting.
