On Modern American Art: Selected Essays

By Robert Rosenblum | Go to book overview

But despite this encyclopedic expansion into past celebrity, Warhol's grasp on the present never loosened, adding, for instance, to his Who's Who in Art such new stars as Francesco Clemente, captured with European, fashion-plate elegance, and Julian Schnabel, documented as a scrapbook image of grass-roots American machismo. Yet even dealing with the present tense, Warhol's new portrait gallery of the 1980s turns out in retrospect to have a peculiarly melancholic cast that joins in memory the sudden disappearance of the artist himself. Whether maturely or prematurely, a startling number of Warhol's sitters of the eighties, especially from the art world, died only years after he pinpointed their young or old faces. Both Georgia O'Keeffe and Joseph Beuys died in 1986, six years after Warhol had had his say about their shamanlike features; and in the world of drugs and AIDS, grimly topical in the 1980s, Warhol's eerily prescient obituaries include his youthful painter-buddies Jean-Michel Basquiat and Keith Haring, as well as Rudolf Nureyev. These pictorial tombstones remind us not only of fame, one of Warhol's constant motifs, but of death, a no less persistent presence in his life and work.

" Andy Warhol, Court Painter to the 70s. Published in David Whitney, ed., Andy Warhol: Portraits of the 70s ( New York: Whitney Museum of American Art, 1979), pp. 9-20". Reprinted, with the addition of the postscript "Andy Warhol: Portraits of the 80s: A Postscript", in Henry Geldzahler and Robert Rosenblum with Vincent Fremont and Leon Paroissien, Andy Warhol: Portraits of the Seventies and Eighties ( London: Anthony d'Offay Gallery, in association with Thames and Hudson, 1993), pp. 139-53".

1.
Richard Morphet, "The Modernity of Late Sickert", Studio International (July-August 1975), pp. 35-38.
2.
Warhol's relation to this tradition of upper-class portraiture has already been pointed out in David Bourdon excellent and informative article, "Andy and the Society Icon", Art in America 63, no. 1 (January-February 1975), pp. 42-45.

-216-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
On Modern American Art: Selected Essays
Table of contents

Table of contents

Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 386

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

    Already a member? Log in now.