Fans have posted their latest Monroe sightings on the Marilyn Remembered Facebook group. Firstly, ChadMichael Christian Morrissette found this mural (based on Alfred Eisenstadt’s famous 1953 photo of Marilyn) on Highland in Hollywood.
And secondly, Lorenzo Presti spotted Marilyn gracing the cover of the ironically-titled Marilyn Had Eleven Fingers On Her Feet, a book of Hollywood-themed paintings by artist Maria Herreros on sale in Madrid. This portrait was inspired by Milton Greene’s 1953 Laurel canyon series. And of course, Marilyn had no extra fingers, or toes – this rumour was debunked by Snopes.
Incidentally, another of Maria’s portraits – based on another shot of Marilyn by Eisenstadt – is featured on the cover of Autobiografía de Marilyn Monroe, a novel by Rafael Reig.
This 1956 portrait of Marilyn is featured in Cecil Beaton: Icons of the 20th Century, at Fundacion Canal in Madrid until August 19. It’s also the first Beaton retrospective held in Spain. “Beaton photographed Monroe in his Hotel Ambassador suite in New York, after she arrived an hour late,” the Guardian reports. “He later wrote that he forgave her for the delay in the moment because ‘her girlish ingenuity and cunningness broke my schemes’.”
Andy Warhol is fast becoming as ubiquitous as his most famous muse, Marilyn. In addition to three current US exhibiotions, Warhol: Mechanical Art is now on display at CaixaForum in Madrid, Spain until May 6. It will then move to Malaga on May 31, Blouinartinfo reports. (Incidentally, Marilyn was the subject of a lecture by the British academic Griselda Pollock at the Madrid venue in February.)
Marilyn is featured among a host of other pop culture icons – from Lauren Bacall and Audrey Hepburn to Elizabeth Taylor and Madonna – in Bolipop, a new exhibition by Valencian artist Antonio de Felipe at La Fiambrera Art Gallery in Madrid, Spain until March 11 (Sunday), Blouin Artinfo reports.
A lecture given this week by the British-based academic Griselda Pollock at the CaixiForum in Madrid, Spain has generated a buzz on social media. Beginning a series taking a closer look at the artist-muse relationship, Pollock focused on Marilyn’s relationship with Arthur Miller, as Paula Lindom reports for Classical & Modern. (Any errors in translation are mine…)
“‘What united this couple? Or, what destroyed them?’ Pollock asked the audience. ‘And what were the influences that each one had in the career of the other – did Monroe become Miller’s sinister muse? Or was Miller the monster that killed Monroe? Had Monroe killed Miller’s talent in some way? What influence did Miller have on Monroe’s creative life and life? To what extent did Monroe use Miller for her own creative work?'”
Pollock is also quoted in an article for the Turkey Telegraph. (The wording was a little hard to follow, so I have edited it slightly.)
“Griselda Pollock highlights many biographies of the iconic actress in which, however, ‘there is very little analysis of her work. How did a white woman, uneducated and abused, become a star like one she was? Why was Andy Warhol crying at her death? Why did Elton John identify with her? Why did Madonna forge her image in Monroe’s likeness?’
Of Marilyn’s marriage to Arthur Miller, Pollock remarks, ‘What a patriarchal mythology: genius and muse. The classical opposition between activity and passivity, desire and object of desire, creativity and inspiration. A different language is needed.’
‘She was given vapid comedy scripts remembered only because of her genius before the camera,’ Pollock adds. ‘She was intelligent, inquisitive and politically engaged; passionate and desperately ambitious to understand the art of acting. Miller did not inspire her; he was obsessed with her. I think they were both flawed geniuses.'”