Unidentified Male

  • 1956
  • Andy Warhol
  • Black ballpoint on white paper
  • 43,4 x 35,6 cm
illustration

By the late 1950s, Andy Warhol had established himself as a recognised commercial illustrator, which provided him with a steady income and allowed him to devote time to his artistic practice on the side. From the moment he arrived in New York in 1949, he actively sought to exhibit in galleries and have his work included in museum collections, even going so far as to offer a work to the Museum of Modern Art, which, however, declined his donation.

The ‘Unidentified Male’ series is characteristic of the delicate line drawings he was producing in abundance at the time and which he submitted to several galleries. Most were reluctant, refusing to exhibit such emotionally charged figurative work whilst the craze for abstraction was at its height. Several gallery owners were also wary of the often homoerotic, more or less suggestive subjects sketched by Warhol. At the time, he compulsively sketched the many young men he came across, tracing their faces – with their long eyelashes and full lips – with a clear, effective line, often focusing on fragments of their fetishised bodies: feet, buttocks, torsos or genitals. The elements he sometimes added to them – notably a swallow drawn on a sheet of gold leaf and other birds – refer directly to the drawings he was producing at the time as a commercial illustrator.

© 2025 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by ADAGP, Paris Crédit photographique : © Louis Vuitton / Jérémie Souteyrat © 2025 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by ADAGP, Paris Crédit photographique : © Louis Vuitton / Jérémie Souteyrat © 2025 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by ADAGP, Paris Crédit photographique : © Louis Vuitton / Jérémie Souteyrat

Andy Warhol

A key figure in Pop Art, Andy Warhol created a character who, investing in cinema, television screens, gay and underground culture, propelled him to the rank of a social icon.

Initially a fashion illustrator, he turned to painting at the end of the 1950s, taking his subjects from the press, comic strips and advertising. In 1962 he began screen-printing, resulting in his Campbell’s Soup series and portraits of the stars (Marilyn Monroe, Elvis Presley, Elisabeth Taylor), endlessly reproducing the same images. These reflect the collective imagination of consumer society, while other series featuring criminals, accidents, electric chairs or Jackie Kennedy in mourning reveal an idealised America shot through with violence, sex and death. In 1964 Warhol opened The Factory, a studio where he produced his paintings and films, a legendary creative space that attracted artists, poets, actors, muses, musicians and collectors. In 1963 his first self-portraits appeared, as well as his Screen Tests, uninterrupted portrait shots lasting several minutes. Then in the 1970s, and especially the 1980s, came portraits commissioned by celebrities. Made directly in photo booths or using a Polaroid Big Shot, these closely framed portraits show their subjects with a fixed gaze, fragile and "petrified", defining a world that is at once contemporary and timeless.

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illustration