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Marilyn's paintings, created between 1963 and 1967, renew an advertising photo of the movie "Niagara"; they were realized by using the screen-printing, which allows to print a subject in a repetitive way. Andy Warhol, in love with Marilyn Monroe and at the same time fascinated by her death, began this series a little time after the death of the actress. The Pop art marks, from the end of the 50s, a reaction to the abstract expressionism which dominates the American art. This movement  give a new look to the sector of production neglected up to here by the avant-gardes: the BD, the ads, the newspapers, the cinema, the industrial products of mass and their processes of reproduction will be the privileged objects of their investigation. In this series of portraits of Marilyn Monroe, Andy Warhol wanted to prove that we could make of art a consumer product common and disposable. While a portrait is intended to be unique, getting the precise features of a face, the character, the depth of the look, Marilyn Monroe of Warhol became a product without detail, an empty shape, a "pure" image, reproduced infinitely. With the work on the color, the face seems veiled, subdued.   By the assembly of these portraits, alternately colorful, sink or saturating, going as far as removing partially the features of the face, the artist reveals the death of the image in parallel with the death of the celebrity. By representing serial faces of Marilyn Monroe, aligned as bottles of Coca-Cola in a hypermarket, Warhol indicates that the face is only the refraction of the anonymous desire of a multitude. This theme of the depersonalization of the contemporary societies of mass is very present in its work.
j'ai pris l'oeuvre d’Andy warhol Marilyn monroe