The Sacred in the Profane: Understanding Andy Warhol's Relationship with the Visual Image

For Andy Warhol (1928-1987), images meant for commercial advertisement, tabloid publication, and entertainment were not merely meaningless reflections of a commodity and media-obsessed world -- they were sacred. In 1986, the Pop artist based the last major series of his career on a reproduction of a Renaissance masterpiece, Leonardo da Vinci's Last Supper (1495-97/98, figure 1). Given the slick packaging of Warhol's oeuvre and his cool public persona, it would be easy to dismiss these late paintings as a cynical comment on the proliferation of images in American society. Viewing The Last Supper series from the perspectives of biography, psychology, and cultural identity, however, has led to a startling conclusion that refutes decades of postmodern analysis categorizing Warhol as a shallow artist limiting himself to the simulacral surface. The son of Carpatho-Rusyn immigrants and a devout Byzantine Catholic, Warhol's relationship with the visual image was formed by a rich cultural heritage in which icons, or holy pictures, are experienced as sacred doorways that make the unseen world real. Although he convincingly played the role of a scheming hipster defiantly blurring the line between commercial and fine art, Warhol's style and technique expose his lifelong connection to the religious imagery with which he grew up.

Name thesis:degree_name

MA

Level thesis:degree_level

Thesis

Discipline thesis:degree_discipline

Art History

Year dc:date.available

2011

Author dc:creator

• Rosefsky, Linda

Contributors dc:contributor

• Kristina Olson.
• Janet Snyder
• Jane B. Donovan
• Cynthia Persinger

• Art history
• Religion
• Slavic studies

Identifier

https://researchrepository.wvu.edu/etd/749

OAI identifier oai:identifier

oai:researchrepository.wvu.edu:etd-1752