The 25 pictures located on the left-side are brightly colored, while the ones on the right are in the conventional black and white. Often, it has been contended that the connection between the canvas’ left and right side is evocative of the connection between Monroe’s death and celebrity life. Necessarily, the basis for the “Twenty-Five Colored Marilyn” does not actually express Marilyn Monroe in person; it relates to a reproduction of the publicity image. This might mean that Warhol is attempting to attack the people’s perception of celebrities. The artist uses silkscreen process in the current Twenty-Five Colored Marilyns. This process was then a renowned technique of commercial printing, to depict the celebrity’s face. The uneven rendition of the image via ink translates Marilyn’s face with varying degrees of preciseness. Also, the inclination of the grid offers the piece a custom-made quality. Andy Warhol does not offer the audience a single Marilyn; he provides the audience with twenty-five.
The logic behind Warhol’s repetition of the image is simple. On the one hand, Warhol wants his audience to consider their individual obsession with celebrities. On the other hand, the artist is trying to propose that more is always better. That is, he is attempting to suggest that more is always better in regards to the case of a famous individual with an already ever-present representation. As a successful individual forged by and for photography and film industries – even the stage name itself had aural and visual appeal – Monroe existed as a perfect representation of sex appeal, celebrity, and glamour. In developing artwork with Marilyn’s image as the emphasis, Andy Warhol asks the audience to consider how they are attempting to avoid or embody these concepts.
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