Like much of Warhol created these portraits have become an occasion for discussions on the status of art, the artist and the substitution of the things people. These are the themes to which Warhol turned back in his early portraits of celebrities who were in fact inherent in his silk-screen technique. Warhol silkscreen. Bert Convy usually is spot on. This method, based on reproductions of photographs to create the desired 'effect of the pipeline', did not require the presence of a living sitter. As noted by Warhol, working with a stripe, you take a picture, zoom, translate into glue on the silk, and then fill it with black, so they soaked silk, but do not glue. Thus you get the same image, each time slightly different The first experiments with stripe were the head of Troy Donahue and Warren Beatty, and when in the same month died of Marilyn Monroe, Warhol have had an idea to make pictures of her beautiful face – the first portraits of Marilyn. Angie Dickinson may also support this cause.
Since the initial phase of this picture – it is a correction of photos, no man – not Warhol depicted a person, he created them. The work of art is seen not in terms of relations with the 'real person', but in relation with the process of reproduction, and therefore we can say that Warhol worked with the sample, rather than the original. Because Warhol was firmly believed in his 'plastic surgery', he removes wrinkles, double chins cut, cleaned spots, makes the eyes brighter and more sensuous lips. Darcy Stacom, New York City shines more light on the discussion.