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Andy Warhol, Mammy - Image 1 of 2
Andy Warhol, Mammy - Image 2 of 2
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Andy Warhol, Mammy
Colour screenprint with diamond dust on Lenox Museum Board 96.5 x 96.5 cm. Framed under plexiglass. Signed and numbered. Proof TP 5/30 (+200, +30 A.P., +5 P.P., +5 E.P., +4 H.C.). Unique proof from a series of 30 differing colour variations. Edition Ronald Feldman Fine Arts, New York. From the ten part series: Myths. - The sheet mounted firmly to the backing.

Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, cat.rais.no.II.262

Provenance
Martin + Lawrence Galleries, New York (adhesive label verso); private collection, Bavaria

In 1979, Andy Warhol commenced the commission work for his gallerist Ron Feldman with the series “Myths” which was published as a ten-piece portfolio in 1981. His theme was modern American myths – popular illustrations which were an integral part of everyday life in the USA at that time. By using motifs such as Superman, Mickey Mouse and the witch from the movie “The Wizard of Oz,“ Warhol chose figures that achieved great popularity and fame through comics, cinema, or television – the new 20th century media. In addition, there were stereotypes from American cultural history that were firmly anchored in American daily life: Santa Claus, Uncle Sam, and Mammy. The latter is a depiction that has its roots in the first half of the 19th century. The black woman, a warm, maternal type, selflessly devoted to her employers, has long been regarded as the ideal of a domestic servant, serving bourgeois society as a nanny or cook. This stereotype became very popular through the movie „Gone with the Wind“ and as an omnipresent advertising figure for various kitchen products. Today the depiction is criticised as being racist as well as idealising the historical living conditions of black women.
Warhol was well aware of this issue; however, it was the contradiction between the origin of the stereotype and its implementation as a highly commercial brand image that interested him in particular. He altered the standard image of the Mammy significantly – away from the older, plain domestic servant, to a younger, attractive woman with self-confident charisma. Make-up and jewellery lent her a glamorous presence which the artist increased even further by the classy black, red, and gold tones of its colour variants. The New York club singer Sylvia Williams was the model for the silkscreen template who enthusiastically accepted Warhol’s offer to subvert the questionable role model.
There are not one but two versions of the silkscreen on offer in this auction. The black variant shows the face in mysterious alienation; in front of the monochrome, deep black background the coloured illustrative elements acquire an intensive signal effect. The orange yellow variant is a unique piece. In this particularly high-contrast composition, the warm golden tone backdrops the portrait; the optical focus is on the seductive pink-red lipstick of the mouth.
Andy Warhol, Mammy
Farbserigraphie mit Diamantstaub auf Lenox Museum Board. 96,5 x 96,5 cm. Unter Plexiglas gerahmt. Signiert und nummeriert. Exemplar TP 5/30 (+200, +30 A.P., +5 P.P., +5 E.P., +4 H.C.). Unikat einer Serie von 30 unterschiedlichen Farbvarianten. Edition Ronald Feldman Fine Arts, New York. Aus der 10-teiligen Folge: Myths. - Das Blatt fest auf die Unterlage montiert.

Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, WVZ-Nr.II.262

Provenienz
Martin + Lawrence Galleries, New York (mit rückseitigem Aufkleber); Privatsammlung, Bayern

Andy Warhol beginnt 1979 im Auftrag seines Galeristen Ron Feldman mit der Arbeit an der Folge „Myths“, die 1981 als zehnteiliges Portfolio herausgegeben wird. Sein Thema sind die modernen amerikanischen Mythen – populäre Darstellungen, die aus dem Alltag der USA zu dieser Zeit nicht wegzudenken sind. Mit Motiven wie Superman, Mickey Mouse und der Hexe aus dem Film „The Wizard of Oz“ wählt Warhol Figuren, die über Comics, Kino oder Fernsehen, den neuen Medien des 20. Jahrhunderts, sehr beliebt und bekannt geworden sind. Daneben finden sich Stereotype aus der amerikanischen Kulturgeschichte, die über die Werbung fest im Alltagsleben der USA verankert sind: Santa Claus, Uncle Sam und Mammy. Letztere ist eine Darstellung, die ihre Wurzeln in der ersten Hälfte des 19. Jahrhundert hat. Die schwarze Frau, als herzlicher, mütterlicher Typus ihren Arbeitgebern selbstlos ergeben, gilt über lange Zeit als Ideal einer Hausangestellten, die als Kindermädchen oder Köchin der bürgerlichen Gesellschaft dient. Dieser Stereotyp wird sehr populär durch den Film „Gone with the wind“ und als allgegenwärtige Werbefigur für diverse Küchenprodukte. Heutzutage wird sie kritisiert als rassistische, die historischen Lebensbedingungen schwarzer Frauen idealisierende Darstellung.
Auch Warhol ist sich dieser Problematik sehr bewusst, ihn interessiert gerade der Widerspruch zwischen der Herkunft des Stereotyps und seiner Verwendung als hochkommerzielles Markenbild. Er ändert die übliche Darstellung der Mammy maßgeblich - weg von der älteren, schlichten Hausangestellten, hin zu einer jüngeren, attraktiven Frau mit selbstbewusster Ausstrahlung. Make-up und Schmuck verleihen ihr eine glamouröse Präsenz, die der Künstler noch steigert durch die edlen Schwarz-, Rot- und Goldtöne seiner Farbvarianten. Fotomodell für die Siebdruckvorlage ist die New Yorker Club-Sängerin Sylvia Williams, sie nimmt begeistert Warhols Angebot an, das fragwürdige Rollenmodell zu unterlaufen.
In dieser Auktion können gleich zwei Exemplare dieses Siebdruckes angeboten werden. Die schwarze Variante zeigt das Gesicht in mysteriöser Verfremdung; vor dem monochromen, tiefschwarzen Farbgrund erhalten die farbigen Darstellungselemente eine intensive Signalwirkung. Bei der orangegelben Variante handelt es sich um ein Unikat. In dieser besonders kontrastreichen Zusammenstellung hinterfängt der warme Goldton das Porträt, der optische Fokus liegt auf dem verführerisch pink-rot geschminkten Mund.
Andy Warhol, Mammy
Colour screenprint with diamond dust on Lenox Museum Board 96.5 x 96.5 cm. Framed under plexiglass. Signed and numbered. Proof TP 5/30 (+200, +30 A.P., +5 P.P., +5 E.P., +4 H.C.). Unique proof from a series of 30 differing colour variations. Edition Ronald Feldman Fine Arts, New York. From the ten part series: Myths. - The sheet mounted firmly to the backing.

Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, cat.rais.no.II.262

Provenance
Martin + Lawrence Galleries, New York (adhesive label verso); private collection, Bavaria

In 1979, Andy Warhol commenced the commission work for his gallerist Ron Feldman with the series “Myths” which was published as a ten-piece portfolio in 1981. His theme was modern American myths – popular illustrations which were an integral part of everyday life in the USA at that time. By using motifs such as Superman, Mickey Mouse and the witch from the movie “The Wizard of Oz,“ Warhol chose figures that achieved great popularity and fame through comics, cinema, or television – the new 20th century media. In addition, there were stereotypes from American cultural history that were firmly anchored in American daily life: Santa Claus, Uncle Sam, and Mammy. The latter is a depiction that has its roots in the first half of the 19th century. The black woman, a warm, maternal type, selflessly devoted to her employers, has long been regarded as the ideal of a domestic servant, serving bourgeois society as a nanny or cook. This stereotype became very popular through the movie „Gone with the Wind“ and as an omnipresent advertising figure for various kitchen products. Today the depiction is criticised as being racist as well as idealising the historical living conditions of black women.
Warhol was well aware of this issue; however, it was the contradiction between the origin of the stereotype and its implementation as a highly commercial brand image that interested him in particular. He altered the standard image of the Mammy significantly – away from the older, plain domestic servant, to a younger, attractive woman with self-confident charisma. Make-up and jewellery lent her a glamorous presence which the artist increased even further by the classy black, red, and gold tones of its colour variants. The New York club singer Sylvia Williams was the model for the silkscreen template who enthusiastically accepted Warhol’s offer to subvert the questionable role model.
There are not one but two versions of the silkscreen on offer in this auction. The black variant shows the face in mysterious alienation; in front of the monochrome, deep black background the coloured illustrative elements acquire an intensive signal effect. The orange yellow variant is a unique piece. In this particularly high-contrast composition, the warm golden tone backdrops the portrait; the optical focus is on the seductive pink-red lipstick of the mouth.
Andy Warhol, Mammy
Farbserigraphie mit Diamantstaub auf Lenox Museum Board. 96,5 x 96,5 cm. Unter Plexiglas gerahmt. Signiert und nummeriert. Exemplar TP 5/30 (+200, +30 A.P., +5 P.P., +5 E.P., +4 H.C.). Unikat einer Serie von 30 unterschiedlichen Farbvarianten. Edition Ronald Feldman Fine Arts, New York. Aus der 10-teiligen Folge: Myths. - Das Blatt fest auf die Unterlage montiert.

Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, WVZ-Nr.II.262

Provenienz
Martin + Lawrence Galleries, New York (mit rückseitigem Aufkleber); Privatsammlung, Bayern

Andy Warhol beginnt 1979 im Auftrag seines Galeristen Ron Feldman mit der Arbeit an der Folge „Myths“, die 1981 als zehnteiliges Portfolio herausgegeben wird. Sein Thema sind die modernen amerikanischen Mythen – populäre Darstellungen, die aus dem Alltag der USA zu dieser Zeit nicht wegzudenken sind. Mit Motiven wie Superman, Mickey Mouse und der Hexe aus dem Film „The Wizard of Oz“ wählt Warhol Figuren, die über Comics, Kino oder Fernsehen, den neuen Medien des 20. Jahrhunderts, sehr beliebt und bekannt geworden sind. Daneben finden sich Stereotype aus der amerikanischen Kulturgeschichte, die über die Werbung fest im Alltagsleben der USA verankert sind: Santa Claus, Uncle Sam und Mammy. Letztere ist eine Darstellung, die ihre Wurzeln in der ersten Hälfte des 19. Jahrhundert hat. Die schwarze Frau, als herzlicher, mütterlicher Typus ihren Arbeitgebern selbstlos ergeben, gilt über lange Zeit als Ideal einer Hausangestellten, die als Kindermädchen oder Köchin der bürgerlichen Gesellschaft dient. Dieser Stereotyp wird sehr populär durch den Film „Gone with the wind“ und als allgegenwärtige Werbefigur für diverse Küchenprodukte. Heutzutage wird sie kritisiert als rassistische, die historischen Lebensbedingungen schwarzer Frauen idealisierende Darstellung.
Auch Warhol ist sich dieser Problematik sehr bewusst, ihn interessiert gerade der Widerspruch zwischen der Herkunft des Stereotyps und seiner Verwendung als hochkommerzielles Markenbild. Er ändert die übliche Darstellung der Mammy maßgeblich - weg von der älteren, schlichten Hausangestellten, hin zu einer jüngeren, attraktiven Frau mit selbstbewusster Ausstrahlung. Make-up und Schmuck verleihen ihr eine glamouröse Präsenz, die der Künstler noch steigert durch die edlen Schwarz-, Rot- und Goldtöne seiner Farbvarianten. Fotomodell für die Siebdruckvorlage ist die New Yorker Club-Sängerin Sylvia Williams, sie nimmt begeistert Warhols Angebot an, das fragwürdige Rollenmodell zu unterlaufen.
In dieser Auktion können gleich zwei Exemplare dieses Siebdruckes angeboten werden. Die schwarze Variante zeigt das Gesicht in mysteriöser Verfremdung; vor dem monochromen, tiefschwarzen Farbgrund erhalten die farbigen Darstellungselemente eine intensive Signalwirkung. Bei der orangegelben Variante handelt es sich um ein Unikat. In dieser besonders kontrastreichen Zusammenstellung hinterfängt der warme Goldton das Porträt, der optische Fokus liegt auf dem verführerisch pink-rot geschminkten Mund.

Evening Sale - Modern and Contemporary Art

Sale Date(s)
Lots: 98
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Köln
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Germany

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Evening Sale - Modern and Contemporary Art

Evening Sale - Moderne und Zeitgenössische Kunst

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Tags: Andy Warhol, Modern & Impressionist Art