“Warhol used a shot from the film “Niagara“ from 1953 for the Marilyn series […]. Warhol‘s portrait documents the origin of a legend. It shows how the primary sense of portrait photography, that is the exact illustration of people superimposed and deformed by a secondary sense that sees something different in the depicted person: the perfect creature, fulfillment of sexual desire, the embodiment of the American dream and so on. And it shows – and this is just where the legend begins. Even though the secondary sense may be projection, it is a “true image“, for it is anchored in the “reality“ of a real person. The Marilyns are fictitious and real at the same time, they show a being that is above man and yet is one of them.“ (Michael Lüthy, in: Andy Warhol. Thirty are better than none, Frankfurt am Main 1995, pp. 51 ff).