(born in Sacramento, California in 1935)
Peek-a-boo Marilyn: Lost painting of 1964, signed and dated Mel Ramos 02 on the reverse, oil on linen, 91 x 61 cm, framed

We are grateful to Rochelle Leininger, from the Mel Ramos Studio, for her help in cataloguing this work.

Provenance:
Mel Ramos Studio, Oakland (label on the reverse with cat. des oeuvres no 02–2)
Private Collection, Austria

Exhibited:
Cádiz, Mel Ramos, Fundación Provincial de Cultura, 7 July - 31 August 2006

Literature:
Donald B. Kuspit, Louis K. Meisel, Mel Ramos Pop Art Fantasies:
The Complete Paintings, Bookwise International, 2004, page 206, ill.

„I make sure that my pictures are not too erotic and that they always have a trace of humor. I make sure they are ‘in good taste.’ Either you understand it or not.“
Mel Ramos

In Mel Ramos’ oeuvre, the gaze of the observer is directed towards a provocative blonde, laughing woman viewed through a keyhole. Displaying Marilyn Monroe, who became well-known in the 1950s as Pop Art gradually came into being, a classical motif of the supposedly voyeuristic gaze of the viewer in art is thus interpreted completely anew. The series celebrates with relish the notions of seeing, exposing, and concealing and revisits the theme of the pin-up girl.

We are grateful to Rochelle Leininger, from the Mel Ramos Studio, for her help in cataloging this work.

Provenance:
Mel Ramos Studio, Oakland (label on the reverse with cat. des oeuvres no 02–2)
Private Collection, Austria

Exhibited:
Cádiz, Mel Ramos, Fundación Provincial de Cultura, 7 July - 31 August 2006

Literature:
Donald B. Kuspit, Louis K. Meisel, Mel Ramos Pop Art Fantasies:
The Complete Paintings, Bookwise International, 2004, page 206, ill.

„I make sure that my pictures are not too erotic and that they always have a trace of humor. I make sure they are ‘in good taste.’ Either you understand it or not.“
Mel Ramos

In Mel Ramos’ oeuvre, the gaze of the observer is directed towards a provocative blonde, laughing woman viewed through a keyhole. Displaying Marilyn Monroe, who became well-known in the 1950s as Pop Art gradually came into being, a classical motif of the supposedly voyeuristic gaze of the viewer in art is thus interpreted completely anew. The series celebrates with relish the notions of seeing, exposing, and concealing and revisits the theme of the pin-up girl.