This is one in a series of eight works which was created at the invitation of the Barber Institute of Fine Arts, Birmingham, UK, in a response to a Victorian painting in its collection called ‘The Blue Bower:Rossetti’ (c1860).

Inspired by the format and rich symbolism of ‘The Blue Bower’, the Singh Twins reinterpret the traditional Victorian view of woman in the light of the achievements and personalities of 20th/21st Century female icons. From pop stars to princesses, and politicians to ‘saints,’ these works explore different facets of femininity which challenge and update the limited, romanticised and often polarised characterisation of women by Rossetti and the Pre-Raphaelite movement in general as mysterious, sensual objects of beauty on the one hand (chaste, desirable, dutiful, often vulnerable) and the femme fatale on the other. Individually and collectively the twins’ contemporary portraits reflect the multiplicity of attributes which in reality coexist within the complex nature of all that is ‘femininity.’ The result is a presentation of women that the viewer, is invited to either love, hate or admire, depending on their response to the artists' own, very personal, interpretation. As an interpretation based largely on observations of media representations, this series of works presents a necessarily stereotypical view of the women they depict, all of whom have influenced 20th century world politics, society and popular culture.

The bright blue and yellow background of this portrait evokes the "glorious Technicolor" of the 50's Hollywood musical - a genre in which the stunningly beautiful and glamorous "Love Goddess" reigned supreme. Epitomising this particular representation of femininity, Marilyn Monroe is paralleled with the Ancient Greek Goddess of love and beauty, Aphrodite. Placed before her, is the golden apple that was awarded to Aphrodite by Paris, who judged her to be the most beautiful of all the Greek Goddesses. As a further testament to her captivating beauty, Marilyn holds a belt that makes reference to the magic girdle possessed by Aphrodite, which was "endowed with the power of enslaving the hearts Gods and men alike". Draped in diamonds and pearls, Marilyn's association with the Goddess is made complete in that according to legend, when Aphrodite was born, she was greeted by Horae who adorned her with precious jewels.

For many, Marilyn is the embodiment of grace and beauty. To denote this, Cherry Blossoms, the Japanese symbol of youth and beauty, dominate the decorative tiled background whilst the colour saffron - described as the very "perfection of beauty" - is represented by the crocuses in the foreground. (Saffron is produced from the dried stamens of the crocus flower). The candle which has been snuffed out before it has time to burn serves as a reminder of the tragedy of Marilyn's death at the height of her youth and beauty. Ironically, it is through her untimely death that Marilyn, like so many other figures from popular culture who died prematurely, has achieved an immortality befitting her status as a 20th Century Goddess. This status is symbolised by the fabulous, everlasting Amaranthus flowers which hang behind her. Translated as 'love lies bleeding', the blood red Amaranthus flowers also allude to Marilyn's unhappy, life long search for an unconditional, loving relationship and her unfulfilled desire for a child of her own.

 

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