Pine Barren Tree Frog II.294 - Andy Warhol
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Descrizione
A striking 1983 screenprint by Andy Warhol from his Endangered Species series, featuring a Pine Barren Tree Frog in bold, high-contrast colours.
Produced in 1983, this screenprint belongs to the Endangered Species portfolio, a series commissioned by Ronald and Frayda Feldman. The collection features ten subjects, including the Pine Barren Tree Frog, chosen to draw attention to animals facing extinction. Warhol employs his signature screenprinting technique, utilising bold, flat areas of colour and a distinct off-register line quality that mimics the aesthetic of commercial mass production.
The composition focuses on the frog perched upon a branch, rendered in a palette that departs from naturalistic representation. Warhol uses high-contrast hues, such as saturated reds, greens, and yellows, set against a dark, moody background. This choice of colour forces the viewer to engage with the subject as a graphic icon rather than a biological specimen. The lines are loose and expressive, suggesting the form of the frog without relying on precise anatomical detail. By applying these commercial techniques to a subject of environmental concern, Warhol bridges the gap between high art and social commentary.
This work reflects the artist's interest in the commodification of imagery. By transforming a rare creature into a repeatable print, Warhol comments on how society consumes images of nature. The screenprint medium allows for the layering of ink, creating a surface that is both tactile and visually arresting. The work remains a clear example of Warhol's late-career output, where he moved beyond consumer products like soup cans to address broader cultural and political themes. The print is a standard size for the series, maintaining the consistency expected of his portfolio editions.
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Pine Barren Tree Frog II.294 - Andy Warhol
Artist Biography
Andy Warhol
He moved to New York after graduating from Carnegie Tech in 1949 and spent the 1950s as a commercial illustrator. He was successful at it: shoe drawings for I. Miller, album covers, magazine illustrations. The work was loose, charming, and camp. He won awards. But commercial art was not taken seriously, and Warhol wanted to be taken seriously.
The Campbell's Soup Cans came in 1962. Thirty-two canvases, one for each flavour. Then Marilyn, then Elvis, then the car crashes and electric chairs. The technique was silk-screen printing: photographic images transferred to canvas through a mesh screen and printed in flat, commercial colours. The process removed the artist's hand almost entirely, which was the point. Warhol made art that looked like it had been manufactured, in a culture that manufactured everything.
The Factory, his silver-foiled studio on East 47th Street, became the centre of a scene that included musicians, actors, drag queens, socialites, and addicts, sometimes all at once. He made films. He started Interview magazine. He managed the Velvet Underground. He was shot by Valerie Solanas in 1968 and nearly died; he wore a surgical corset for the rest of his life.
His late work, often dismissed, includes the Oxidation Paintings (made with urine on metallic paint), the Shadow series, and the Last Supper paintings. He died in 1987 after gallbladder surgery, at fifty-eight. His estate was valued at around 600 million dollars.
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