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Andy Warhol Artwork
Two Hundred Campbell’s
Soup Cans
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Andy Warhol pop art famous artist (1928-87) once joked that he wanted to be
remembered as a Campbell soup can,
and, in a sense, Andy Warhol quotes
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wish has been fulfilled as comic pop art for his
Campbell soup company artwork paintings famous subject matter artwork.
This type of image helped to establish
Andy Warhol reputation and has since become one of the best known artists pop art
icons of product pop art paintings with Campbell company soup.
Initially, Andy Warhol was employed as a commercial artist, and first Andy Warhol paintings pop art
drew heavily on the pop product art experience. In the early 1960s original Andy Warhol famous
artwork paintings depicted a range
of everyday consumer items, including Andy Warhol Coca Cola bottles, Brillo soap pads, and
Campbell soup cans 1960s pop comic art as pop art product. The choice of product for Campbell stuff soup cans
artwork famous paintings was determined partly by
Campbell soup label popularity, Campbell can soup was the best selling brand of
canned soup company in the United States
and partly by the artist's personal habits for his famous soup can 1960s pop art product
famous paintings artwork.
The pop art icon Warhol's lunch normally consisted of campbell soup stuff
and a soda, and the
empty containers of
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soup campbell company
simply accumulated on his desk, so he used it as his famous artwork paintings
product pop art subject matter artwork.
Once Warhol the pop art icon had settled on this paintings famous artwork subject matter,
Warhol treated pop paintings art in many different ways. Usually,
he portrayed a single soup Campbell can on a larger than life scale.
The impact of these famous pop art pictures
stemmed from the contrast between traditional notions of
artistic subject artwork matter |
requirments as something that was important, permanent, or Attractive and an object that was
both cheap and
disposable. Alternatively, Warhol one of the most famous pop artists art painted
grids consisting of one hundred Campbell soup cans or two hundred soup cans of soup campbell label
These bore a superficial resemblance to assembly lines in a factory or stacks of soup cans at a
supermarket with soup campbell label. As such, they epitomized the rise of mass production and the consumer society.
Andy Warhol also developed a third variant of the artwork famous paintings subject matter,
which showed the campbell soup label can after use,
either crushed or with its campbell soup company label torn off.
These pop paintings art pictures often exude an air of violation,
even though the object depicted is nothing more than a straightforward piece of garbage.
Andy Warhol was not the first pop art artists to tackle artwork matter subject of this kind.
In 1960 pop art culture, for example,
his fellow American Jasper Johns (1930-) one of the pop art artists
had created a stir with Painted Bronze,
a sculpture of two beer cans as icon pop art sculptures of art 1960s pop style.
It took Warhol time to find the most appropriate style for his art pop paintings.
In his earliest famous paintings artwork of Campbell label soup cans,
he often included the type of gestural mannerisms
that were normally associated with abstract expressionism
(The modern art movement abstract expressionism began in
New York City after the Second World War and retained dominate
until the beginning of culture Pop Art 1960s.
Abstract Expressionism began with few American artists later
termed Abstract Expressionists and it was the dominant trend
in western painting throughout the 1950s.
Abstract Expressionists paintings were often made of shapes,
lines,
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and forms not meant to depict a reality from the
visible world.) By 1962, however, Andy Warhol had removed
these affectations from his art pop paintings artwork famous subject artwork matter in favor of an
antiaesthetic approach, which he described as his
"cold `no comment' style of pop 1960s art."
Andy Warhol applied this approach not only to inanimate objects but
also to the stars of popular culture most famously pop art Marilyn Monroe as Marilyn paintings pop art
and culture pop art Elvis Presley as Elvis pop art treating them too as if they were products of
consumerism for his famous pop art canvas matter subject artwork.
Style and technique Warhol's earliest multiple images such as
Two Hundred Campbell's Soup Cans were often painted by hand, which proved a
laborious process. He therefore experimented with a number of labor saving techniques.
In his grids, he made extensive use of hand cut stencils, while some of the larger
warhol painting of Campbell company soup cans label were traced directly onto the canvas by means of an
overhead projector for his canvas pop art.
Increasingly, though, he found that screen printing was the ideal medium for
this type of image. He began by taking a photographic image often from a newspaper
which he enlarged and transferred to a silk screen to create a stencil at could be
used time and again. In this way his method reflected the infinite multiplication
of the mass produced objects that he showed as photo pop art.
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An examination of any series of Warhol works reveals the strategies of the
artist to create much difference in repeating the same simply through the
manipulation of the placement of the image. 'Placement' in this sense means
how Warhol and his assistants stretched each canvas around one or several
screened images. In producing these images, Warhol usually painted a large
sheet of canvas with selected ground colors, and would then have an image
silkscreened several times on that canvas. Once the paint had dried, the
canvas was cut and stretched onto uniform purchased stretcher bars. As the
screened images were either slightly larger or slightly smaller than the
stretched canvas' surface, some variation occurs in the visual presentation of
each image, giving the appearance of registration or mis-registration as
would be produced by a mechanical printing process. It is in this process that
Warhol causes any real differentiation in his images. Colors and registration
vary slightly allowing the viewer to actually perceive differences among the
works. Also, Warhol made the decision as to how many repeated images
would appear on a single canvas. A lack of centering in these paintings
illustrates Zarathustra's observation of perpetuity, "The middle is
everywhere."[21] By comparing these differences one sees that what is the
same in each of these paintings simply returns unto the image itself.
Simultaneously, the similar returns to another object for comparison.[22]
Thus the eternal return in Warhol's arena affirms difference within the same.
From the perspective of dissimilarity, no matter how slight, the viewer can
not deny the existence of similarity.
In Warhol's screened works, the optical properties of the image are clear to
the viewer. The variation in tone achieved by Warhol's use of one or more
screened colors of paint is decorative rather than illusionistic. Any highlights
or shadows created in these works is incidental and the seemingly arbitrary
manipulation of colors that occurs both in one work or a series of works is
so extreme that it defies illusionistic depth in his pictures. What the viewer
reads as the highlights of these Warhol works is nothing more than optical
colors advancing over dark tones or the space between the dots on a ground
of canvas or paper. Notice here that I say ground and not background, for the
figure-ground relationship is not easily established. Despite the fact that the
screened ink is on top of the painted surface, the ground in these works is
not the background as there is no depth. The ground is part of the medium
which makes the gestalt perception of the images possible at all. Indeed,
depth is eliminated in the appropriated image's dot pattern and this surface
existence at its fundamental negates the image's 'being'. The critic Robert
Melville pointed out this contradiction of the subject stating, "The successful
work is in short a paraphrase of the blank surface it adheres to. American
Pop painting is an ingeneous way of painting Nothingness." In negating
the image it is difficult to discuss difference if images at all, since all of
Warhol's images are essentially, perceived in the same manner of diminished
extensity. When we reduce the Warhol image to its base elements of dot and
color, we see that the "parts precede and make possible the representation of
the whole." Thus, as Kant would note, there are no 'internal differences' in
these Warhol images, rather, difference would only be perceived as an
'external relation' that must be perceived by the 'empirical intuition' of the
viewer.[24] From this perspective, one could see that these optical properties
subsume all of the Warhol serial works, since all of the paintings, prints, and
works on paper operate with the same optical strategies and their images are
all subject to the same optical metaphysics.
References: “Masterworks”, by Iain Zaczek. Published by The Brown Reference Group, London.2003.
Andy Warhol's Iconophilia by William V. Ganis
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