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Andy Warhol: Self portraits is at the Scottish National Gallery of Modern Art in Edinburgh from 12 February to 2 MayThis website and its associated newspaper adheres to the Independent Press Standards Organisation's Editors' Code of Practice. If you have a complaint about editorial content which relates to inaccuracy or intrusion, then contact theIf you remain dissatisfied with the response provided then you can contact Nike Huarache Grey
y hero, and St Sebastian, complete with Souza like arrows. The US artist Cindy Sherman became the "star" of her own imaginary film stills, snapshots from narratives with no beginning or end, just that Rembrandtian moment from which all and nothing can be gleaned. And then there's Andy Warhol, who made icons of Elvis, Marilyn, Elizabeth Taylor and himself. Some years ago, John Bellany was one of just three British artists represented at a major exhibition of religious images at the national art gallery in Australia. Francis Bacon and Stanley Spencer were the others, but Bellany was delighted to find himself hanging nearby Warhol, one of the American representatives. They are icon painters of radically different stamp, but the hanging wasn't quite as absurd as it might sound. Warhol is in some respects the opposite to Rembrandt in that his portraits suggest Nike Huarache New
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Just as fictional characters have no reality beyond the organisation of inked letters on paper, so there is no "Rembrandt" or "Van Gogh" or "Frida Kahlo" here, and certainly no "Andy Warhol", just combinations of paint, pencil and photographic chemicals made at a specific moment in time. Grasping that moment was one of the gifts of James McNeill Whistler (after whom McNeill Reid was named). His ultra fast, risky method was to capture his subjects in a single sitting, using thin, wet paint. If the moment was lost, so was the portrait. Whistler's sitters found it an uncongenial experience. Some walked out; some simply didn't come back for another try. The result? Whistler propped up a mirror and once again became his own subject, and his own fantasy object.
there is nothing beneath the surface. In doing so, they confirm both the power and the illusory nature of the made image.
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