Andy Warhol, Mao 96, 1972
|Artist:||Andy Warhol (1928 - 1987)|
|Series:||Mao Portfolio, 1972|
|Medium:||Color Screenprint on Beckett High White Paper|
|Image:||36 in x 36 in (91.4 cm x 91.4 cm)|
|Sheet:||36 in x 36 in (91.4 cm x 91.4 cm)|
|Edition:||Numbered from an edition of 250 in ball-point pen on verso. There are 50 AP signed and numbered with a rubber stamp on verso, some signed and numbered in ball-point pen. Each print is unique; published by Castelli Graphics and Multiples, Inc., New York; printed by Styria Studio, Inc., New York.|
|Signature:||This work is hand signed by Andy Warhol (Pennsylvania, 1928 – New York, 1987) in ball-point pen on verso.|
|Condition:||This work is in excellent condition.|
Andy Warhol’s Mao 96 (1972) puts Warhol’s attention to detail on display. Mao’s eyes are a light blue rather than white, as are the highlights in his hair. His lips, however, are left a pasty white. His shirt, made up of what seem to be brushstrokes of honey yellow and golden brown, has a textured appearance that adds a great element of interest. The hand-drawn squiggle at the right of the image hugs the curves of Mao’s head and neck, almost acting as a shadow behind him. Warhol’s Mao 96 is an iconic work from Andy Warhol’s Mao screenprint collection, one of his most well-regarded series.
Andy Warhol’s Mao screenprint portfolio appropriates the official portrait of Mao Zedong, the former Chairman of the Communist Party of China. Warhol was inspired by the portrait’s similarity to silkscreen and its ubiquity—Mao’s portrait was known to every Chinese person and could be seen throughout China in both public and private spaces. The Mao portfolio, made up of ten different versions of Mao’s portrait, evokes the propagandistic use of the image in China. Interestingly, Warhol treats Mao’s image in the same manner that he treats his portraits of Western celebrities. Mao’s cult of personality mirrored the cult-like followings of Western celebrities, and Warhol’s decision to treat Mao’s portrait in the same manner as icons such as Marilyn Monroe frames the Chinese leader as a pop icon. Warhol exposes the similarity between Western and Eastern adoration of individuals and the mass dissemination of their images, and his use of outrageous coloring examines fame in its multiple forms.
This screenprint is part of a portfolio of works Warhol created in 1972 titledMao. Other works in the Mao Portfolio include Mao 90 , 1972, Mao 91, 1972, Mao 92, 1972, Mao 93, 1972, Mao 94, 1972, Mao 95, 1972, Mao 97, 1972, Mao 98 , 1972, Mao 99, 1972.
Created in 1972, Andy Warhol’s Mao 96 is a color screenprint on Lenox Museum Board and is hand signed in ballpoint pen on verso. It is a unique work of an edition of 250, published by Castelli Graphics and Multiples, Inc., New York and printed by Styria Studio, Inc., New York.
Catalogue Raisonné & COA:
Andy Warhol, Mao 96, from Mao screenprint portfolio is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the sale of the work).
1. Feldman, Frayda and Jörg Schellmann. Andy Warhol Prints: A Catalogue Raisonné 1962 – 1987, 4th Ed. New York: Distributed Art Publishers, Inc., 2003.
2. A Certificate of Authenticity will accompany this artwork.
About the Framing:
Framed to museum-grade, conservation standards, Andy Warhol’s Mao 96, 1972 is presented in a complementary moulding and finished with silk-wrapped mats and optical grade Plexiglas.