Marilyn Monroe (Monroe) (F. & S. II.29): Screenprint by Andy Warhol from the Marilyn suite

  • Andy Warhol Marilyn F. & S. II.29 1967 screenprint pink face orange hair turquoise background Pop Art print Marilyn Monroe
    Marilyn Monroe (Monroe) (F. & S. II.29), 1967
    Screenprint on paper, 91.4 x 91.4 cm, 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.29), Marilyn Monroe’s face is rendered in a soft, pale pink, set against a vivid turquoise background that creates a contrast across the composition. Her hair is defined in bright orange with areas of cool grey, producing a dynamic interplay between warm and muted tones that frame the face. The eyes are accentuated with bold turquoise eyeshadow, while her lips are formed through layers of grey and pale blue, giving them a subdued, almost silvery quality. These unexpected colour combinations flatten the image and heighten its graphic impact, transforming Monroe into a highly stylised visual icon.
     
    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. Created shortly after Monroe’s death in 1962, Warhol’s repeated use of her image reflects his interest in celebrity, mass media, and reproduction. In this variation, the contrast between luminous colour and softened tonal areas reinforces Monroe’s shift from a photographic subject into a constructed image, central to Warhol’s exploration of Pop Art and modern visual culture.
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  • "The more you look at the same exact thing, the more the meaning goes away, and the better and emptier you feel"
    - Andy Warhol

    Repetition was central to Andy Warhol’s practice, reflecting his interest in mass production, consumer culture, and the circulation of images in modern society. By repeating the same image, Warhol removed any sense of uniqueness, instead presenting it as something manufactured and endlessly reproducible, much like advertising or newspaper prints. In works such as the Marilyn series, this repetition also introduces subtle variations in colour and registration, highlighting both the mechanical process of silkscreen printing and the instability of the image itself.