Warhol’s rote painting technique is echoed by the rigid composition of the work, a five-by-five grid of faces, repeated across the two halves of its surface.Here, as in many Neo-Dada, minimalist and conceptual works, the grid is like a program that the artist uses to “automate” the process of composing the work, instead of relying on subjective thoughts or feelings to make decisions. We believe that the brilliant histories of art belong to everyone, no matter their background. In other words, Warhol’s “cool,” detached composition is the opposite of the intimate, soulful encounter with the canvas associated with Abstract Expressionism. Even if we don’t recognize the source (a publicity photo for Monroe’s 1953 film True to form, the actress looks at us seductively from under heavy-lidded eyes and with parted lips; but her expression is also a bit inscrutable, and the repetition remakes her face into an eerie, inanimate mask. Of that summer, Warhol recalled: “ In August 62 I started doing silkscreens. Smarthistory’s free, award-winning digital content unlocks the expertise of hundreds of leading scholars, making the history of art accessible and engaging to more people, in more places, than any other provider.We believe art has the power to transform lives and to build understanding across cultures. Once the screens are manufactured and the colors are chosen, the artist simply spreads inks evenly over the screens using a wide squeegee. The Marilyn Diptych now hangs in the Tate, which is located at the United Kingdom. Though there are differences from one face to the next, these appear to be the accidental byproducts of a quasi-mechanical process, rather than the product of the artist’s judgment. Through these choices, Warhol transforms the literal flatness of the paper-thin publicity photo into an emotional “flatness,” and the actress into a kind of automaton. We created Smarthistory to provide students around the world with the highest-quality educational resources for art and cultural heritage—for free. However, Warhol had intended them as two separate works. The repetition of her face reflects the public interest in Monroe's life, and her constant presence in the media. He initially began depicting the actress in the Marilyn Diptych, 1962, shortly after her death. We believe that the brilliant histories of art belong to everyone, no matter their background. In this way, the painting suggests that “Marilyn Monroe,” a manufactured star with a made-up name, is merely a one-dimensional (sex) symbol—perhaps not the most appropriate object of our almost religious devotion.While Warhol’s silkscreened repetitions flatten Monroe’s identity, they also complicate his own identity as the artist of this work. For Warhol, Marilyn was already a familiar subject. Marilyn Diptych is an icon of Pop art because of it's references to pop culture and its comments on mass production and consumption.

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