Julia Warhola - Andy Warhol
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Beskrivning
A striking 1974 screenprint portrait of the artist's mother, Julia Warhola, rendered in bold, high-contrast colours.
This portrait depicts Julia Warhola, the mother of the artist, rendered in the distinctive screenprint style that defined Warhol's career. Created in 1974, the work utilises a high-contrast palette, typical of the artist's interest in mechanical reproduction and the transformation of personal subjects into iconic imagery. The composition focuses on the facial features of the subject, with the glasses and soft contours of the face captured through simplified planes of colour.
Warhol often turned his attention to those within his immediate circle, yet he applied the same detached, aestheticised treatment to these figures as he did to celebrities or consumer goods. By using the screenprinting process, the artist removed the evidence of the painterly hand, favouring a flat, graphic quality that flattens the depth of the original photographic source. The choice of deep purples and warm, saturated oranges creates a tension between the intimate nature of the subject and the artificiality of the medium.
This print reflects the artist's broader practice of examining the relationship between identity and image. While the subject is his mother, the work functions as a study in colour theory and graphic design. The lines are not drawn in the traditional sense: they are the result of the photographic silkscreen process, which translates light and shadow into distinct zones of ink. This approach strips away the narrative context of the portrait, leaving the viewer to engage with the visual impact of the colour fields and the stark reduction of form. It is a clear example of how the artist manipulated the mechanics of printmaking to alter the perception of familiar faces, turning the personal into a public, reproducible object.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Julia Warhola - 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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