Elena And Cressie Get Ready For The Party 1
Elena And Cressie Get Ready For The Party 1
Signed Print
Julian Opie
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Screenprint, 2011
Signed Print Edition of 30
H 78cm x W 62cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2022 | Wright - United States | Elena And Cressie Get Ready For The Party 1 - Signed Print | |||
| August 2022 | Bonhams New York - United States | Elena And Cressie Get Ready For The Party 1 - Signed Print | |||
| June 2021 | Wright - United States | Elena And Cressie Get Ready For The Party 1 - Signed Print | |||
| June 2020 | Phillips London - United Kingdom | Elena And Cressie Get Ready For The Party 1 - Signed Print | |||
| October 2019 | Bonhams Los Angeles - United States | Elena And Cressie Get Ready For The Party 1 - Signed Print | |||
| October 2018 | Phillips New York - United States | Elena And Cressie Get Ready For The Party 1 - Signed Print |
Meaning & Analysis
Rendered in the artist’s late graphic style, Elena And Cressie Get Ready For The Party 1 is the first of a set of six prints by Julian Opie from his Elena And Cressie Get Ready For The Party series (2011). Showing a profile portrait of a young woman, this print image uses elements of realism, unusual to Opie’s typical style, retaining details like tonal contours on the face and hair. This portrait is set against a bright blue backdrop.
What is striking about this work when considered alongside the artist’s oeuvre as a whole, is Opie’s dramatic rendering of light and shadow in the portrait. The sitter’s earring becomes the focal point of the image due to the way that it catches the light that comes from the left of the image. Her face is cast in dark shadow and there a strong sense of depth and tone that is unusual when compared to Opie’s flattened depictions of figures.
Primarily utilising computer-based drawing techniques to produce his portraits, the figure in Elena And Cressie Get Ready For The Party 1 appears like an animated character from a video game. This highly graphic style favoured by Opie, works to create a depersonalised image that toes the line between reality and representation.
