Marilyn Diptych Analysis

The ‘contradiction between art and society is as indispensable an element of the Marxist interpretation of the history of art as is the doctrine of their unity’ (Lifschitz, 1938, pg. 68). Indeed, Marxist thought is inclusive of an abundance of key concepts that intertwine with the arts in an ‘indispensable’ way. Such concepts include popular culture, class conflict and, namely, the ongoing Marxist struggle of capitalism within society. Many works can be discussed through a Marxian lens which generally offer powerful interpretations for art within society. This essay will analyse the ways in which Marxism assists in the understanding of the arts and, more specifically, the ways in which art responds to political agendas of the time. Indeed, Marxists have a tendency to equate artistic expression with

Warhol was intelligent and knew exactly how to manipulate the media; Matthew Israel summarising this well in stating that the artist ‘understood the media’s cult of personality, and he capitalized on it through his incredible ability to attract attention’ (Israel, 2013). More than just a pretty painting, Marilyn Diptych provokes a critique of celebrity figures and the attention that surrounds them, by suggesting Marilyn Monroe’s media struggle through composition and finish. By repeating her profile, Warhol evokes the unwavering presence she acquired within the industry, though, in contrast, what is inconsistent is the way in which it is repeated. That is, each new print fades from the previous which, like the contrast in hues from vivid orange and pink to dull monochrome, cries out Monroe’s increasing desperation towards the end of her career and life. With her death and diptych both so closely linked to Marxian views of capitalist degradation, such a theoretical approach remains prevalent to a thoughtful