![]() Warhol did not originally intend these two canvases to be shown together as a single artwork. The two contrasting sides of this work capture the contrast between Marilyn’s artificial public persona on the left and the harsh reality of her troubled private life on the right. The other is monochrome and sombre, the uneven application of ink causing her face slowly to disappear. One of the canvases is vibrant and bursting with energy, representing the star’s flamboyant public personality. The rows of repetitive heads suggest postage stamps, billboard posters or, perhaps more fittingly, film strips. (Two-part works such as this one are often referred to as diptychs). The work is made up of two canvases, each featuring 25 Marilyns printed in a grid pattern. It was exhibited in his first New York exhibition in 1962. His 1972 book, Billy Baldwin Decorates, is still considered a must-read for practical decorating advice.Marilyn Diptych 1962 is perhaps one of Warhol’s most iconic works. ![]() Furniture upholstered down to the floor (he considered the look of naked chair legs to be “restless”) dark, bold wall colors and curated, built-in bookshelves are other Baldwin design staples that are still relevant today. Whether Baldwin was reworking the interiors of Cole Porter’s Waldorf Towers apartment, Jackie O’s home on the Greek island of Skorpios, or overhauling Diana Vreeland’s Park Avenue living room, scale and proportion remained his top priorities. He even took their wardrobes into account, claiming he had “a natural interest” in women’s clothes “to the extent that they were going to be worn in the rooms that I was working on.” And while many important decorators of his time insisted on throwing out everything the client owned and starting a project from scratch, Baldwin worked with pieces his clients already owned. ![]() Scale and proportion give everlasting satisfaction that cannot be achieved by only icing the cake,” he said.īaldwin was named to the International Best-Dressed List in 1974, and his interiors were as immaculate and crisp as his perfectly tailored suits and polished ensembles. Comfort and quality were Baldwin’s top tenets, but he considered a space’s “good bones” to be a higher priority: “I’ve always believed that architecture is more important than decoration. Which is odd, considering that his comprehensive approach to the home went far beyond his role as a “decorator,” his preferred title. Some of her rooms have a restrained color palette of classic black and white, while others showcase a wild Technicolor mash-up of pinks with greens, turquoise, and orange.ĭraper protégé Carleton Varney may have said it best of the decorating legend: “Dorothy Draper was to decorating what Chanel was to fashion.”īilly Baldwin Don’t refer to Billy Baldwin as an “interior designer.” He detested the term. She extended her elegant “modern Baroque” style to many public buildings, including the cafeteria at New York’s Metropolitan Museum of Art, the Fairmont and Mark Hopkins hotels in San Francisco, and, most famously, a total redesign of the Greenbrier in West Virginia. Decorating is just sheer fun: a delight in color, an awareness of balance, a feeling for lighting, a sense of style, a zest for life, and an amused enjoyment of the smart accessories of the moment.”ĭraper-a cousin of Sister Parish-opened what is arguably the first official interior design business, Architectural Clearing House, in 1925. “Almost everyone believes that there is something deep and mysterious about or that you have to know all sorts of complicated details about periods before you can lift a finger.
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