Lillian Carter, the mother of U.S. President Jimmy Carter, became an unlikely subject of Pop Art in Andy Warhol’s Lillian Carter FS. II 153. This screenprint is among the rarest in Warhol’s body of work, distinguished by the fact that it is the only known impression signed by both Warhol and Lillian Carter herself. The print came from the personal collection of Fred Hughes, Warhol’s longtime business manager and the executor of his estate, and it holds particular historical significance as it was originally published to help raise funds for Jimmy Carter’s presidential campaign.

The artwork presents a stylized and highly abstracted portrait of Lillian Carter. Her facial features are partially obscured by vivid, surreal blocks of color and loose outlines, a technique that lends the composition an almost dreamlike quality. The only immediately recognizable detail is a pin referencing her son’s campaign—a small yet telling symbol that ties the image to its political context. Warhol's use of abstraction here emphasizes image and impression over identity, aligning with his broader interest in fame, symbolism, and surface.

Printed by Gem Screens in New York and published by the Democratic National Committee in Washington, D.C., Lillian Carter FS. II 153 is a prime example of Warhol’s engagement with political figures through the language of celebrity. Warhol often blurred the lines between political icons and pop stars, transforming individuals like Lillian Carter into objects of visual fascination. This approach mirrored his belief that politicians, like celebrities, relied heavily on image, media presence, and public perception.

Within Warhol’s larger oeuvre, this portrait highlights his fascination with the interplay between fame, media, and politics. Just as he immortalized Hollywood icons and consumer goods, Warhol elevated political figures by applying the same vibrant aesthetic—bright colors, graphic treatments, and a heavy emphasis on surface. His portrayals of Jimmy Carter and his mother brought an unexpected glamour to political imagery, merging the realms of high office and pop culture in ways that felt fresh and provocative for the time.

Although Warhol is best known for his iconic screenprints, his artistic process was deeply rooted in photography. Throughout his career, he collected and reworked images from mass media sources, often using them as the foundation for his portraits. Lillian Carter FS. II 153, both as a rare print and as a historical artifact, stands as a unique and compelling example of Warhol’s ability to fuse politics with the aesthetics of celebrity culture. The piece remained in Fred Hughes' personal collection until his death in 2001, adding to its legacy as one of the most personal and politically charged works in Warhol’s extensive catalog.

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