Two images of Andy Warhol exist in the popular press: the Pope of Pop of the Sixties, and the partying, fright-wigged Andy of the Seventies. In the two years before he died, however, Warhol made over 100 paintings, drawings, and prints based on Leonardo da Vinci's The Last Supper. The dramatic story of these works is told in this book for the first time. Revealed here is the part of Andy Warhol that he kept very secret: his lifelong church attendance and his personal piety. Art historian and curator Jane Daggett Dillenberger explores the sources and manifestations of Warhol's spiritual side, the manifestations of which are to be found in the celebrated paintings of the last decade of Warhol's life: his Skull paintings, the prints based on Renaissance religious artwork, the Cross paintings, and the large series based on The Last Supper.>

Two images of Andy Warhol exist in the popular press: the Pope of Pop of the Sixties, and the partying, fright-wigged Andy of the Seventies. In the two years before he died, however, Warhol made over 100 paintings, drawings, and prints based on Leonardo da Vinci's The Last Supper. The dramatic story of these works is told in this book for the first time. Revealed here is the part of Andy Warhol that he kept very secret: his lifelong church attendance and his personal piety. Art historian and curator Jane Daggett Dillenberger explores the sources and manifestations of Warhol's spiritual side, the manifestations of which are to be found in the celebrated paintings of the last decade of Warhol's life: his Skull paintings, the prints based on Renaissance religious artwork, the Cross paintings, and the large series based on The Last Supper.>

An examination of the spiritual side of Warhol looks at his art during his final years, which includes paintings based on Leonardo da Vinci's "Last Supper," and Warhol's "Skull" and "Cross" paintings.

This is the first critical examination of Pablo Picasso's use of religious imagery and the religious import of many of his works with secular subject matter. Though Picasso was an avowed atheist, his work employs spiritual themesÑand, often, traditional religious iconography. In five engagingly written, accessible chapters, Jane Daggett Dillenberger and John Handley address Picasso's cryptic 1930 painting of the Crucifixion; the artist's early life in the Catholic church; elements of transcendence in Guernica; Picasso's later, fraught relationship with the church, which commissioned him in the 1950s to paint murals for the Temple of Peace chapel in France; and the centrality of religious themes and imagery in bullfighting, the subject of countless Picasso drawings and paintings.

Sharing Warhol's roots in a Pittsburgh Carpatho-Rusyn community, Hebenick (philosophy, U. of Dayton, Ohio) pays tribute on the 10th anniversary of the pop artist's death to his work and their heritage rooted in NE Slovakia, Ukraine, and Poland. In four studies (ethnographic, biographical, autobiographical, and aesthetic), the author traces the style of the creator of pop icons like silk-screened Campbell's soup cans and Marilyn Monroe images to the religiously-based folk art of Easter egg decorating (pysanky) and the sacred icons of the Greek Orthodox church. The only art appears on the cover and is traditional, not that of Warhol. Annotation copyrighted by Book News, Inc., Portland, OR

In the 1960s, Andy Warhol’s paintings redefined modern art. His films provoked heated controversy, and his Factory was a hangout for the avant-garde. In the 1970s, after Valerie Solanas’s attempt on his life, Warhol become more entrepreneurial, aligning himself with the rich and famous. Bob Colacello, the editor of Warhol’s Interview magazine, spent that decade by Andy’s side as employee, collaborator, wingman, and confidante. In these pages, Colacello takes us there with Andy: into the Factory office, into Studio 54, into wild celebrity-studded parties, and into the early-morning phone calls where the mysterious artist was at his most honest and vulnerable. Colacello gives us, as no one else can, a riveting portrait of this extraordinary man: brilliant, controlling, shy, insecure, and immeasurably influential. When Holy Terror was first published in 1990, it was hailed as the best of the Warhol accounts. Now, some two decades later, this portrayal retains its hold on readers—as does Andy’s timeless power to fascinate, galvanize, and move us.

"Andy Warhol: Revelation, opening October 20, 2019, will be accompanied by this 96 page full-color exhibition catalogue. This publication includes a forward from Patrick Moore, the director of The Andy Warhol Museum, an essay by José Carlos Diaz, chief curator at The Warhol, titled "Into the Sunset" on the spiritual aspects of Warhol's "Sunset" commission in 1967, and an essay by Miranda Lash, curator of contemporary art at the Speed Art Museum, titled "Kitsch You Can Believe In: Warhol's Incessant Last Supper." The book will also feature descriptions of the thematic exhibition sections, along with high quality image plates of selected works and a comprehensive checklist of all the objects featured in the show. The Revelation catalogue will provide a snapshot of the exhibition, which will be the first of its kind to comprehensively examine the Pop artist's complex Catholic faith in relation to his artistic production. In what follows, you will find a summary of the scope and scale of the exhibition's content: Christian motifs frequently appear in both explicit and metaphorical forms throughout the body of Warhol's oeuvre. While his monumental crosses and depictions of Christ directly reference biblical stories, the exhibition will also explore his coded depictions of spirituality such as an unfinished film reel depicting the setting sun, originally commissioned by the de Menil family and funded by the Roman Catholic Church. Born in Pittsburgh to a devout Byzantine Catholic family, Warhol grew up attending multiple weekly services at his local church with his mother, Julia Warhola. He would stare for hours at the icon paintings of Christ and the saints that hung in the elaborate iconostasis, or icon screen, at the front of the nave. In the Warhola family's Carpatho-Rusyn neighborhood, life revolved around the church community, and the young artist was deeply affected by this environment. Using The Warhol's robust holdings of the artist's early works, the exhibition will trace the influence of his religious roots in Pittsburgh to his Pop career in New York City. Throughout his life as a celebrity artist, Warhol retained some of his Catholic practices when his peers were distancing themselves from their religious backgrounds. Yet, his relationship with Catholicism was far from simple. As a queer man, Warhol may have felt a sense of guilt and fear towards the Catholic Church, which kept him from fully immersing himself in the faith. Nevertheless, he used various media to explore this tension through his art. From iconic portraits of celebrities to appropriated Renaissance masterpieces, Warhol flirted with styles and symbolism from Eastern and Western Catholic art history, carefully reframing them within the context of Pop. Through this process, the artist elevated kitsch and mundane images from mass media, and transformed them into sacred high art. The exhibition will feature over 100 objects from the museum's permanent collection, including archival materials, drawings, paintings, prints and film. Rare source material and newly discovered items will provide an intimate look on Warhol's creative process. Through both obscure works such as the "sunset" film commission from 1967 and late masterpieces like the pink Last Supper (1986), the exhibition will present a fresh perspective on the artist. Andy Warhol: Revelation is curated by José Carlos Diaz, chief curator at The Andy Warhol Museum. After opening at The Warhol, Andy Warhol: Revelation will travel to the Speed Art Museum in Louisville, Kentucky and be on view from April 3 through August 21, 2020"--

The definitive biography of a fascinating and paradoxical figure, one of the most influential artists of his—or any—age To this day, mention the name “Andy Warhol” to almost anyone and you’ll hear about his famous images of soup cans and Marilyn Monroe. But though Pop Art became synonymous with Warhol’s name and dominated the public’s image of him, his life and work are infinitely more complex and multi-faceted than that. In Warhol, esteemed art critic Blake Gopnik takes on Andy Warhol in all his depth and dimensions. “The meanings of his art depend on the way he lived and who he was,” as Gopnik writes. “That’s why the details of his biography matter more than for almost any cultural figure,” from his working-class Pittsburgh upbringing as the child of immigrants to his early career in commercial art to his total immersion in the “performance” of being an artist, accompanied by global fame and stardom—and his attempted assassination. The extent and range of Warhol’s success, and his deliberate attempts to thwart his biographers, means that it hasn’t been easy to put together an accurate or complete image of him. But in this biography, unprecedented in its scope and detail as well as in its access to Warhol’s archives, Gopnik brings to life a figure who continues to fascinate because of his contradictions—he was known as sweet and caring to his loved ones but also a coldhearted manipulator; a deep-thinking avant-gardist but also a true lover of schlock and kitsch; a faithful churchgoer but also an eager sinner, skeptic, and cynic. Wide-ranging and immersive, Warhol gives us the most robust and intricate picture to date of a man and an artist who consistently defied easy categorization and whose life and work continue to profoundly affect our culture and society today.

Is contemporary art a friend or foe of Christianity? Art historian, critic, and curator Daniel Siedell, addresses this question and presents a framework for interpreting art from a Christian worldview in God in the Gallery: A Christian Embrace of Modern Art. As such, it is an excellent companion to Francis Schaeffer's classic Art and the Bible. Divided into three parts--"Theology," "History," and "Practice"--God in the Gallery demonstrates that art is in conversation with and not opposed to the Christian faith. In addition, this book is beautifully enhanced with images from such artists as Andy Warhol, Jackson Pollock, Enrique Martínez Celaya, and others. Readers of this book will include professors, students, artists, and anyone interested in Christianity and culture.

Art has always been important for religion or spirituality. Secular art displayed in museums can also be spiritual, and it is this art that is the subject of this book. Many of the works of art produced by Wassily Kandinsky, Mark Rothko, Andy Warhol, and Anselm Kiefer are spiritual in nature. These works reveal their own spirituality, which often has no connection to official religions. Wessel Stoker demonstrates that these artists communicate religious insights through images and shows how they depict the relationship between heaven and earth, between this world and a transcendent reality, thus clearly drawing the contours of the spirituality these works evince.