Andy Warhol. Jacqueline Kennedy II from 11 Pop Artists, Volume II. 1965, published 1966

Andy Warhol

Jacqueline Kennedy II from 11 Pop Artists, Volume II

1965, published 1966

Medium
Screenprint from a portfolio of eleven screenprints, one with collage additions
Dimensions
composition: 24 x 29 15/16" (60.9 x 76.1cm); sheet: 24 x 30" (60.9 x 76.2 cm)
Publisher
Original Editions, New York
Printer
Knickerbocker Machine & Foundry Inc., New York
Edition
200
Credit
Gift of Original Editions
Object number
274.1966.2e
Copyright
© 2017 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York
Portfolio
11 Pop Artists
Department
Drawings and Prints
This work is not on view.
This work is part of a portfolio with 32 other works online.
Andy Warhol has 241 works  online.
There are 21,411 prints online.

Warhol based these screenprints on press images he collected in the months following President John F. Kennedy's assassination. He chose iconic scenes of Jacqueline Kennedy just before and after she was widowed and cropped them closely around her face. While Jackie's changing expression amounts to a timeline of the tragedy, the metallic ink surfaces, perfectly flat and devoid of any surrounding activity, render the scenes more abstract, both formally and emotionally.

Gallery label from Andy Warhol: Campbell's Soup Cans and Other Works, 1953–1967, April 25–October 18, 2015

Printmaking, and in particular screenprint, was the basic medium for Andy Warhol's celebrated work on canvas and paper. While a prize-winning commercial artist in the 1950s, he devised a printing process of blotting outline drawings in ink from one surface to another. In a whimsical book of fashionable shoe styles, done at the time he was head of advertising at a shoe company, his blotted drawings were reproduced and then hand-colored by a team of friends.

Although Warhol adopted a bland, detached persona, he was an extremely energetic artist and self-promoter who played a significant role in redirecting the course of art. Rather than deriving his work from subjective personal feelings or idealist visions for abstraction, Warhol embraced popular culture and commercial processes. He eventually set up his own print-publishing company called Factory Additions, issuing portfolios of his signature themes. For Marilyn, he created ten highly variable portraits, exploiting the possibilities in screenprinting for shifting colors and off-register effects. By celebrating the seemingly impervious veneer of glamour and fame, but acknowledging its darker inner complexity, these prints reveal Warhol's subtle grasp of American culture.

Warhol did not participate in the collaborative printshop system established in America in the 1960s, but his work contributed decisively to what has been characterized as a "print boom" at that time. Through the course of his career, he made nearly eight hundred printed images on paper, about half published in traditional editions. He was also a surprisingly experimental printmaker, issuing hundreds of trial proofs and unique variants. The compositions that make up Camouflage, his last portfolio, constitute a playful commentary on abstraction. Through manipulation of scale and color from sheet to sheet, Warhol alters the visual impact of the military fabric used for concealment. In examples on canvas, he also superimposes his face, linking self-portraiture with disguise.

Publication excerpt from Deborah Wye, Artists and Prints: Masterworks from The Museum of Modern Art, New York: The Museum of Modern Art, 2004, p. 162

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