Warhol's Triple Elvis

Warhol's Triple Elvis
Warhol's Triple Elvis
Anonim

Andy Warhol experimented enormously with all the great icons of American culture. And among them could not miss Elvis Presley. He dedicated several works to him and among them is titledTriple Elvisthat he did in 1962.

In it we see the musician and actor in an image that seems to be a superimposition of photos, which has one intention, and it is none other than to give rhythm to the image of Elvis who is dressed as a gunslinger from the Far West as in one of his movies and stands out against a silver background.

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Warhol's Triple Elvis

That effect was made by Warhol using a material as industrial as the spray aerosols used to paint cars.

The truth is that somehow the most representative painter of Pop Art felt identified with the king of rock & roll. A character that was a young man of very humble origins and that thanks to his musical talent becomes a being adored by the masses, in many moments with attitudes that border on hysteria.

With that Warhol could find similarities in his artistic career, but also with the other side of these idols, his darker side. The one in which they suffered deep depression, abused drugs and also alcohol.

Actually, Elvis Presley could not be missing from the gallery of portraits that Warhol made with the personalities of his time. A gallery featuring MarilynMonroe, Elizabeth Taylor, John F. Kennedy and his widow Jackie, Marlon Brandoor the ill-fated actress Natalie Wood.

The list would be broader and populated by artists of all kinds, movie stars, politicians and cultural personalities of the moment. In all cases, Warhol chose them for a reason. Sometimes for being prototypes of beauty or power, but some also reached their highest levels of popularity thanks to the portraits made of them by the painter, whose work transforms them from celebrities to icons.

They were portraits in which Warhol played with the image at will, many times from photos that he infinitely modified with his touch-ups. This repetition was intentional, since it gave much more strength and presence to those icons that became objects of consumption by society.

And on the other hand, Andy Warhol never hid the economic benefit that this meant, thanks to the easy reproduction that could be made of these works, in order to satisfy the demand of the masses.

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