Andy Warhol

Leo Castelli Gallery, New York
John Ashbery, New York
Private collects ion, Chicago
Sotheby's, New York, May 4, 1974, lot 566
Private collects ion, New York
Private collects ion
Sotheby's, New York, October 2, 1980, lot 66
Private collects ion
Dayton's Gallery 12, Minneapolis
Christie's, New York, May 17, 2001, lot 145
Galerie Michael Schultz, Berlin
Acquired by the present owner from the above

George Frei and Neil Printz, eds., The Andy Warhol Catalogue Raisonné: Paintings and Sculptures, 1964-1969, Volume 02A, New York, 2004, cat. no. 1155, p. 207, illustrated in color

This work is in very good condition. Please refer to the following condition report prepared by Terrence Mahon. This work is framed in a black wood strip frame.
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Central to the extraordinary and historic canon of Jackie works executed by Andy Warhol between February and November 1964, this painting exemplifies all the brilliant artistic innovation and profound cerebral inquiry of the unprecedented eponymous series. Indeed, that this Jackie was in the collects ion of John Ashbery, the esteemed poet and early champion of Warhol's work who first.mes t the artist in 1963 and was a visitor to the Factory, attests to the importance and quality of this particular painting.

Here the newly widowed Jacqueline Kennedy stands alone and isolated at the funeral of her assassinated husband in Arlington National Cemetery on 24^th November 1963. Epitomizing youth, beauty and style, Jackie embodied the contemporaneous ideals of wife and mother and, as First Lady in JFK's Camelot, was an inspirational heroine to millions. She was also an astute celebrity who, in a new era of mass-media reproduction and dissemination, carefully managed her public persona. However, in this most harrowing moment any instinct for public presentation is overwhelmed by the need for private emotion: unveiled she stares vacantly off into the middle distance slightly above her. Two days before, a sniper's bullet had shattered a nation and by magnifying the closest witness to that appalling tragedy Warhol reveals a mirror to boundless pathos.

However, beyond the purely iconographic narrative also lies Warhol's groundbreaking interrogation of the power of mass-media and its agents. The JFK catastrophe provided the pivotal conflation of celebrity and death that perpetually seduced Warhol and became the abiding preoccupation of his life's work. Indeed, the Jackie corpus, epitomized by this outstanding work, is the crescendo to the seminal Death and Disaster works that preceded it. With the artist's inimitable silkscreen simultaneously imitating and subverting the psychological and emotional conditioning inherent to photo-journalism, Jackie summates Warhol's aptitude to seize the most potent images of his t.mes and deliver the perfect twentieth-century history painting.