MARILYN MONROE (MONROE) (F. & S. II.26): Signed screenprint by Andy Warhol

  • Andy Warhol Marilyn F. & S. II.26 1967 screenprint grey face blue hair pink background Marilyn Monroe Pop Art print
    Marilyn Monroe (Monroe) (F. & S. II.26), 1967
    Screenprint on paper, 91.4 x 91.4 cm, edition of 250 signed in pencil and numbered with a rubber stamp on verso, plus 26 signed AP and lettered A-Z on verso
    Printer: Aetna Silkscreen Products, Inc., NY, Publisher: Factory Additions, NY
    © The Andy Warhol Foundation
    BACK TO: MARILYN SUITE
     
    In Marilyn (F. & S. II.26), Marilyn Monroe is rendered in a muted, almost monochromatic palette that sets it apart from the more vividly coloured variations in the series. Her face appears in soft silver-grey tones, framed by pale blonde hair with cool blue shadows that subtly define its form. The background carries a gentle,  pinky-silver hue, while her features are delicately accented with faint peach eyeshadow and sharply outlined lips in electric pink. This restrained use of colour creates a quieter, more atmospheric composition, where contrast is softened and the image takes on a subdued presence.
     
    Part of the Marilyn Monroe, 1967, portfolio published by Factory Additions in New York, this screenprint is based on a publicity still from the 1953 film Niagara. Warhol’s use of silkscreen allows the image to retain a photographic quality while introducing subtle variations in tone and texture, reinforcing his interest in repetition and reproduction. In this version, the reduced colour range draws attention to the mechanics of the process itself, emphasising how Monroe’s image can be both preserved and transformed through mass production.
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  • "The more you look at the same exact thing... the better and emptier you feel" 

     

    - Andy Warhol

    The Marilyn silkscreen prints were first developed by Andy Warhol in 1962, shortly after the death of Marilyn Monroe, marking a turning point in his artistic practice. Using a publicity photograph from the 1953 film Niagara, Warhol translated Monroe’s image into a repeatable silkscreen format, allowing him to produce multiple variations from a single source. This approach aligned his work with the visual language of mass media, where images are endlessly reproduced and circulated. In 1967, Warhol formalised this idea into the Marilyn Monroe portfolio, a set of ten screenprints published by Factory Additions in New York, each featuring the same composition but differing in colour.