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"DEATH CAN REALLY MAKE YOU A STAR" (ANDY WARHOL) - Print

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"DEATH CAN REALLY MAKE YOU A STAR" (ANDY WARHOL) Print

Patrick Delaunay

France

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About The Artwork

'Death can really make you a star'. This sentence, pronounced by Warhol, is at the origin of the creation of my painting which is based, on the other hand, on a photograph of the artist and one of the works of the Skull series. While working on it, I realize that Andy Warhol has, de facto, died twice. This experience, these passages will make him a superstar, an immortal. On June 3, 1968 in New York, Valerie Solanas, ultra-feminist, enters the Factory, shoots the man three times and leaves him for dead and then fires on Mario Amaya. After which she decides to get off Fred Hughes, her gun jams ; another version : the elevator door opens : it gets scared and runs away. Despite five vital organs affected, Andy is doing well. A miraculous. When he leaves the hospital, the artist decides to change her life. He moves the Factory, embarks on large-scale production of portraits of people, celebrities, rich, without neglecting his work made series. In my web (images engulfing each other), the yellow skull oozes, secretes gold. A shower of fine gold falls on the pope's face of pop art... blessed. In greek mythology Zeus turns into a rain of gold coins that water the princess Danae the fertilizer (this myth has often been represented in painting, including Rembrandt, Titian, Gentileschi, Klimt and Schiele). Traduction : ‘La mort peut vraiment faire de toi une star’. Cette phrase, prononcée par Warhol, est à l’origine de la création de ma peinture qui se fonde, par ailleurs, sur une photographie de l’artiste et l’une des œuvres de la série Skull. En y travaillant, je réalise qu’Andy Warhol est, de facto, mort deux fois. Cette expérience, ces passages vont faire de lui une superstar, un immortel. Le 3 juin 1968 à New York, Valerie Solanas, ultra-féministe, entre dans la Factory, tire à trois reprises sur l’homme et le laisse pour mort puis elle fait feu sur Mario Amaya. Après quoi elle décide de descendre Fred Hughes, son arme s’enraye ; autre version : la porte de l’ascenseur s’ouvre : elle prend peur et s’enfuit. Malgré cinq organes vitaux touchés, Andy s’en sort. Un miraculé. À la sortie de l’hôpital, l'artiste décide de changer de vie. Il déménage la Factory, se lance dans la production à grande échelle de portraits de people, célébrités, riches, sans négliger son œuvre faite de séries. Dans ma toile (les images s’engendrant les unes les autres), le crâne jaune suinte, sécrète de l’or. Une pluie d’or fin s’abat, coule sur le visage du pape du pop art… béni. Dans la mythologie grecque Zeus se transforme en pluie de pièces d’or qui arrosent la princesse Danaé la fécondant (ce mythe a souvent été représenté en peinture, notamment par Rembrandt, Titien, Gentileschi, Klimt et Schiele).

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Print:Giclee on Fine Art Paper

Size:8 W x 12 H x 0.1 D in

Frame:White

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Patrick Delaunay is a french painter, draftsman, poet and writer. He was born and raised in Rennes, Brittany. He currently lives and works in Rouen. Exhibits regularly in Paris and some regions in France, and several european countries. Is collected worldwide. Some of his paintings were acquired by museums in France. Some of his first pictures tributes to the heroic figures of Jazz are in "Love Me" (2000), film by Lætitia Masson, with Johnny Hallyday. His subjects of predilection are the portrait, the body. The strength of the image in drawing, color and expressiveness is what it seeks. He finds his inspiration in his life, is seduced by friends, lovers, also by movies and photographs. It is part of the neo-figurative movement. Patrick Delaunay is also author of literary works, including “Le roman de Van Gogh” (ed. Carrère, 1988), “Chiens” (ed. Hors commerce, 1998), "Jouir dit-elle" (ed. Hors Commerce, 2002). "Today, we invite you to meet a fascinating painter. These colorful pictures with varied images caught our attention. Patrick Delaunay is a painter impatient to constantly live new experiences. The artist loves painting, dense, deep oil. The idea of the image that gradually arrives on the white canvas and gently radiates the surface and impose itself on our eyes. His gesture holds and releases, in fervor, the successive layers of painting. The fresh material is worked with passion. Patrick grabs it to divert the meaning. Gradually appear the mysterious images that enchant us. "Moods, feelings, psychic states pass in the brush, participate in the realization of the image : joy, excitement, frustrations, rage, sadness, melancholy", he confides to us ... "(Colette Pagès)

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