About the Artwork
The art of assemblage, preceding pop art, was the aesthetic propellant for Marisol. She explained her two-dimensional approach to sculpture by conceding that she was untrained and a bad carver. She compensated by adopting a method that included odd pieces of cast-off carpentry, stick-on parts, face masks, cast body parts, and common objects of all kinds.
Fittingly, the artist chose as her subject Henry Geldzahler, the hip curator and critic who chronicled and sometimes participated in Happenings, pop art's theatrical sideshow. On two joined columns, the artist drew and painted differently posed versions of his head and striped-shirt-tie-and-pantsclad body.
Double Portrait of Henry Geldzahler
1967
Marisol (Marisol Escobar)
born France
French
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Carved and painted wood
Overall: 65 5/8 × 31 1/4 × 16 1/2 inches (166.7 × 79.4 × 41.9 cm)
Sculpture
Contemporary Art after 1950
Gift of Mr. and Mrs. S. Brooks Barron
1993.71
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Markings
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Provenance
collection of S. Brooks Barron;1993-present, gift to the Detroit Institute of Arts (Detroit, Michigan, USA)
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Provenance pageExhibition History
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The exhibition history of a number of objects in our collection only begins after their acquisition by the museum, and may reflect an incomplete record.
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Suggest FeedbackPublished References
Colby, Joy Hakanson. "DIA's 'double portrait' ranks as a singular gain." The Detroit News, September 9, 1994, 4D.
Beck, Jessica. Marisol and Warhol Take New York. Exh. cat., The Andy Warhol Museum. Pittsburgh, 2021, pp. 86-87, (ill.); p. 131.
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Credit Line for Reproduction
Marisol (Marisol Escobar), Double Portrait of Henry Geldzahler, 1967, carved and painted wood. Detroit Institute of Arts, Gift of Mr. and Mrs. S. Brooks Barron, 1993.71.
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