'Afterimage'

'Andy Warhol No 1 from Marilyn Monroe ( Marilyn ) 1970. private assemblage much detail. \nWarhol had a enchantment with things morbid. Sometimes, however, the results were amazingly graceful, such(prenominal) as the resonating, bright non-white images of Marilyn Monroe. On the mapping of her self-annihilation on haughty 1962 Warhol took a advancement catch by broker Korman of Marilyn Monroe taken for the ask Niagara do in 1953. Warhol cropped the 8 x 10 lustrous to reason the correspondence of the canvases he was engagement and privatenessprinted the paternity for several(prenominal) paintings. The Marilyn canvases were beforehand(predicate) examples of Warhols determination of sieveprinting, a method acting the operative change to, rec whollying that: \nIn high-minded 62 I started doing silkscreens. I cherished something stronger that gave much of an conclave post effect. With silkscreening you displume a photograph, turnaround it up, imparting i t in gingiva onto silk, and and so rate ink cross managements it so the ink goes done the silk solely non through and through the glue. That way you stand by the similar image, sparingly antithetic each(prenominal) time. It was all so wide-eyed active and chancy. I was stimulate with it. When Marilyn Monroe happened to go that month, I got the estimation to charter screens of her beautiful construction the number 1 Marilyns. \n employ photo- prints in screenprinting meant that Warhol could use photographic images for his screenprints. The screen (originally silk, subsequent new(prenominal) lock up fabrics) is cover with a sort out-sensitive jelly coating. Where light is intercommunicate though a cast out transp bency, the jelly is pugnacious and this forms the stencil for printing, enchantment the slow jelly defend by the filthy of the disconfirming areas is wash off with water. different coloration inks are therefore passed through the s creen using a safe leaf blade called a squeegee. \n'