Flowers 69 by Andy Warhol is a screenprint from the artist’s Flowers portfolio, published in 1970. The clash of radiant colors in Flowers 69 is distinctive of Warhol’s Pop sensibilities. In this image, he amplifies the appearance of hibiscus flowers blooming in a field of grass. By removing minute details and leaving the naked shape of four flowers, Warhol distills the subject’s beauty to its quintessence. “In the sixties,” he said, “you’d go and play up what a thing really was, you’d leave it ‘as is’.” Though the flowers appear stripped down, even deconstructed, they are still easily recognizable and familiar. Moreover, Warhol knew he could employ color and contrast to modernize such a classic symbol.
Warhol’s Ongoing Fascination with Flowers
Warhol first revealed his Flowers portfolio in 1964 at the Leo Castelli Gallery. He revisited the subject again in 1970 and went on to create additional portfolios, like Flowers (Hand-Colored) and Flowers (Black and White). Warhol often professed that he most enjoyed portraying the things he liked, and he had a clear affection for flowers. Additionally, the artist aimed to leave his mark on the timeless subject.
The Modern Photography Source and the Caulfield Lawsuit
Warhol used a picture from the 1964 issue of Modern Photography for Flowers 69 and the rest of the prints in this series. His friend Henry Geldzahler found the photograph and suggested he paint it in the spirit of portraying a more peaceful subject. Photographer Patricia Caulfield sued Warhol a few years later when she discovered the appropriation of her image. After winning the case, she took home two prints from the collection. The incident troubled Warhol; from then on, he chose to shoot his own photographs. “His entry into photography vis à vis his creation of silkscreen paintings was done out of necessity,” Gerard Malanga explained.
Color and Composition in Flowers 69
Flowers 69 displays the pale pink, blue, and orange flowers against a fiery red backdrop. While the hibiscus blossoms remain front and center in this print, the intense, near-blinding hues in the background threaten to overshadow them. More than likely, Warhol chose to present the foreground as less important to challenge expectations. After all, he claimed, “Pop is just taking the outside and putting it on the inside or taking the inside and putting it on the outside.” The use of loud, electric colors is characteristic of Warhol’s Pop sensibility and his background in commercial art. This training instilled in him an understanding of visual magnetism—how to make an image instantly captivating. The same approach can be seen in Warhol’s Marilyn Monroe portfolio and later Ads series, both of which command attention through striking simplicity and color.
The Legacy of Flowers 69
The 1970 Flowers series is a true classic and one of the most iconic achievements of Warhol’s career. It also marked the beginning of a highly productive decade. In the 1970s, Warhol wrote his first book, The Philosophy of Andy Warhol (From A to B and Back Again), designed the album cover for the Rolling Stones’ Sticky Fingers, and published portfolios such as Space Fruit and Electric Chairs. Flowers 69 marks the blossoming of this new chapter—a symbol of artistic renewal that continues to bloom with every generation.
Photo credit:
Andy Warhol silk-screening Flowers, 1965–1967. Photo by © Stephen Shore.
Andy Warhol with assistants Philip Fagan (left) and Gerard Malanga (right), The Factory, New York, 1964. Photo © Ugo Mulas Estate.
