Marilyn Leaving in Pink
As one of the last living pioneers of the pop art movement, James Francis Gill adds a contemporary twist to one of his most celebrated works.
Originally featured in his 1960’s Women in Cars collection, ‘Marilyn Leaving’ was inspired by a series of black and white photographs Gill had seen in magazines of Marilyn Monroe leaving a car outside her home in Hollywood.
Some 60 years on, at the age of 90, ‘Marilyn Leaving in Pink’ sees Gill recreate one of his most acclaimed artworks with a modern vibrancy yet timeless presence. Created using a hand-pulled silkscreen method to accurately capture colours and details, it remains true to its firmly grounded pop art roots and the major themes of his life’s work.
The artwork is central to an idea that was ahead of its time, anticipating the omnipresence of celebrity culture, image sharing and struggle to protect one’s privacy. The interior of the car is a cocoon of safety and security where Marilyn can be Norma Jeane. The moment she leaves the car, she steps into her celebrity identity.
Capturing this moment in the form of art, Gill exposes what the paparazzi couldn’t, a sensitive, reflective understanding of the figure ‘behind’ the camera.
Find out more about this collection here or alternatively shop more James Francis Gill art here.
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Description
As one of the last living pioneers of the pop art movement, James Francis Gill adds a contemporary twist to one of his most celebrated works.
Originally featured in his 1960’s Women in Cars collection, ‘Marilyn Leaving’ was inspired by a series of black and white photographs Gill had seen in magazines of Marilyn Monroe leaving a car outside her home in Hollywood.
Some 60 years on, at the age of 90, ‘Marilyn Leaving in Pink’ sees Gill recreate one of his most acclaimed artworks with a modern vibrancy yet timeless presence. Created using a hand-pulled silkscreen method to accurately capture colours and details, it remains true to its firmly grounded pop art roots and the major themes of his life’s work.
The artwork is central to an idea that was ahead of its time, anticipating the omnipresence of celebrity culture, image sharing and struggle to protect one’s privacy. The interior of the car is a cocoon of safety and security where Marilyn can be Norma Jeane. The moment she leaves the car, she steps into her celebrity identity.
Capturing this moment in the form of art, Gill exposes what the paparazzi couldn’t, a sensitive, reflective understanding of the figure ‘behind’ the camera.
Find out more about this collection here or alternatively shop more James Francis Gill art here.
