Taken with instagram
Andy Warhol’s Liz #5 (Early Colored Liz), 1963, sold for $26,962,500 at the Contemporary Art Par I sale, 12 May 2011, New York.
To Andy Warhol, Elizabeth Taylor epitomized everything that so fascinated him. She was shockingly beautiful and devastatingly alluring, yet her life was full of both tragedy and scandal. Most importantly, her face was one of the most famous in the world. Warhol’s enthrallment with her began in the late 1950s and would stay with him throughout his life. Of the various portraits he did of the Hollywood starlet, none is more rich and striking than Liz #5. In it Warhol perfectly captures the glamour, sex appeal and ravishing beauty that epitomized Elizabeth Taylor. Yet behind this stunning façade is a rich and varied history which lends the painting a depth only found in the best of Warhol’s work.
In 1963, Elizabeth Taylor was at the height of her film career and Warhol at the height of his artistic creativity. Taylor was the highest paid actress in the world, internationally renowned for her unparalleled beauty. Warhol was the king of the New York art world, revolutionizing the status quo with his new style and technique. This legendary portrait was a groundbreaking masterpiece when it was painted then and today, with its rich history it becomes a timeless homage to two of the world’s most iconic figures. Elizabeth Taylor, along with Marilyn Monroe and Jackie Kennedy would become Warhol’s most famous muses and lasting legacies.
I Was A Widow
48 ” x 36 “
Acrylic, collage, varnish, resin on pine wood
On view at Anonymous Gallery, Mexico City
Artist:
Aaron Nagel
“Chanon”
Figure Study, 16” x 20”, Oil on Panel
2012
Margarita Georgiadis - The Unraveling, 2009
julie
Oil Painting
by Orsi Horvath
Budapest, Hungary
Original: $1,200.00
Will you take me as i am
Oil Painting
by Sampsa Sarparanta
Salo, Finland
Original: $3,500.00
Martha Zmpounou.Burst, 2011.
The silence,
Jaap de Vries
Opens Tomorrow, May 3, 6-8p:
”Elder Kinder”
Jason Bard Yarmosky
Lyons Wier Gallery, 542 W24th St., NYC
The images in this series can be seen as either humiliating or empowering. The pessimist sees the images through the lens of shame and vulnerability, weighed down by social convention. The optimist sees a sense of liberation, where an adolescent’s playfulness and the freedom to dream complement the wisdom of old age. - thru June 2
Francis Bacon, Figure Study I, 1945-46
From the National Galleries of Scotland:
This is an important early painting by Bacon, as he destroyed much of his work from the period of 1935 to 1944. Despite the title, it is a figure study only by implication. It is one of the few works in Bacon’s oeuvre that does not feature a figure, though the trilby hat and tweed overcoat suggest a human presence. The painting was followed by a similar work, ‘Figure Study II’ (Huddersfield Art Gallery), which shows the same coat motif, from which a deformed, screaming figure - perhaps lurking under the coat in this painting - emerges.
Francis Bacon, Figure in a Landscape, 1945
From the Tate Collection:
This painting is thought to be based on a photograph of Bacon’s lover Eric Hall wearing a flannel suit dozing on a seat in Hyde Park. A substantial section of the body has been overpainted, suggesting a black void. An open mouth can be discerned speaking into microphone, a detail that may have derived from photographs of Nazi leaders giving speeches. The pastoral setting is therefore contrasted with the intimations of organised political violence, making this an early example of Bacon’s combination of aggression and everyday mundane reality.
