Campbell Soup Cans , sometimes referred to as 32 Campbell's Soup Cans , is a work of art produced in 1962 by Andy Warhol. It consists of thirty-two canvas, each measuring 20 inches (51 cm) in height by 16 inches (41 cm) in width and each consisting of a Campbell tin painting - one of each canned soup of varieties the company offered at the time. Individual paintings are produced by the method of graphic art - a semi-mechanical screen printing process, using a non-painterly style. Campbell's Coke Soup Cans rely on themes from popular culture to help us deliver pop art as the ultimate art movement in the United States.
Warhol, a successful commercial illustrator, writer, publisher, painter, and film director, showed his work on July 9, 1962, in his first one-man gallery exhibition as a fine artist at the Ferus Gallery of Los Angeles, California. This exhibition marks West Coast's pop art debut. The combination of semi-mechanical processes, non-artist styles, and commercial subjects initially led to violations, since the overt commercialism of the work symbolizes a direct insult to the abstract technique and philosophy of expressionism. In the United States the abstract movement of expressionist art dominates during the post-war period, and it holds not only the values ​​of "art" and aesthetics but also on mystical inclinations. This controversy led to much debate about the benefits and ethics of the work. Warhol's motives as an artist are questioned, and they continue to be a topic for today. The huge public uproar helped transform Warhol from becoming a commercial illustrator in the 1950s to a renowned artist, and helped distinguish him from other pop artists. Although the commercial demand for his paintings was not immediate, Warhol's association with the subject led to his name becoming synonymous with Campbell's Soup Can painting.
Warhol then produced various artworks depicting Soup Campbell's cans during three different phases of his career, and he produced other works using various images from the world of commerce and mass media. Today, Campbell's Soup cans theme is commonly used in reference to the original set of paintings as well as the paintings and paintings of Warhol then describes the can of Campbell Soup. Due to the ultimate popularity of the entire series of themes with the same theme, Warhol's reputation grew to the point where he was not only the most famous American pop artist, but also American artist living at the highest price.
Video Campbell's Soup Cans
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New York art scene
Warhol arrived in New York City in 1949, directly from the School of Fine Arts at the Carnegie Institute of Technology. He quickly achieved success as a commercial illustrator, and his first published image appeared in the Summer Glory Magazine edition <1949> . In 1952, he held his first art gallery show at the Bodley Gallery by featuring works inspired by Truman Capote. In 1955, he searched photographs borrowed from a collection of New York Public Library photos with the help of Nathan Gluck, and reproduced them with a process he had previously developed as a student at Carnegie Tech. The process, which describes his work in the future, involves the emphasis of wet ink on adjacent paper. During the 1950s, he regularly displayed his drawings, and was exhibited at the Museum of Modern Art ( Final Picture , 1956).
Pop art
In 1960, Warhol began producing his first canvas, which was based on comic strip subjects. In late 1961, he studied the silkscreening process of Floriano Vecchi, who had run the Tiber Press since 1953. Although the process generally begins with stencil drawings, it often evolves from blown photos that are then transferred glue to the silk. In either case, one needs to produce an adhesive-based version of a positive two-dimensional image (positive means that open space is left where the paint will appear). Usually, ink is rolled across the media so that it passes through the silk and not the glue. Cans Soup Campbell was among Warhol's first silkscreen productions; the first is the US dollar bill. The pieces are made of stencils; one for each color. Warhol did not start converting photographs into silkscreens until after the original series of Campbell Soup cans were produced.
Although Warhol has produced silkscreens from strip comics and other pop art subjects, he allegedly alienated himself to a canned soup as a subject at the time to avoid competing with Roy Lichtenstein's more comic style. He once said, "I have to do something that will really have a lot of impact that will be quite different from Lichtenstein and James Rosenquist, which will be very personal, which will not look like I do what they're doing." In February 1962, Lichtenstein is shown at a sold-out cartoon exhibition at the Leo Castelli Gallery of Leo Castelli, ending the possibility of Warhol showing off his own cartoon paintings. Castelli had visited the Warhol gallery in 1961 and said that the work he saw there was too similar to Lichtenstein, although Warhol and Lichtenstein's comic art works differed in subjects and techniques (for example, comic book Warhol comic figures are cute pop culture categories such as Popeye, while Lichtenstein is generally a hero and stereotypical hero, inspired by strip comics devoted to adventure and romance). Castelli chose not to represent the two artists at the time. [He will, in November 1964, be exhibiting Warhol, his Flower Painting, and then Warhol again in 1966.] The 1962 show of Lichtenstein was quickly followed by a one-man show by Wayne Thiebaud on 17 April 1962 at Allan Stone Gallery displays all-American food, which makes Warhol annoyed that he feels that his own food works. Warhol is considering returning to the Bodley gallery, but Bodley's director does not like his pop artworks. In 1961, Warhol was offered a three-man show by Allan Stone at the last 18 East Street Gallery with Rosenquist and Robert Indiana, but all three were insulted by this proposition.
Irving Blum was the first dealer to show Warhol's soup cans. Blum happened to visit Warhol in May 1962, when Warhol was being featured in a magazine article "The Slice-of-Cake School" on May 11, 1962 (including part of Warhol's silkscreened <200 200 Dollars Bills ), along with Lichtenstein, Rosenquist, and Wayne Thiebaud. Warhol is the only artist whose picture actually appears in the article, which demonstrates his ability to manipulate the mass media. Blum saw dozens of Campbell soup cans, including a box of One-hundred Canned Soup that day. Blum is surprised that Warhol has no gallery arrangements and offered him a July show at the Ferus Gallery in Los Angeles. This will be Warhol's first one-man show about his pop art. Warhol is assured by Blum that the newly-founded Artforum magazine, which has an office over the gallery, will close the show. Not only Warhol's first solo sculpture exhibit, but also considered a pop art show on the West Coast. Andy Warhol's first New York Pop Exhibition was held at the Stable Eleanor Ward Gallery November 6-24, 1962. The exhibition included works by Marilyn Diptych , Coca-Cola Green Bottle and < i> Campbell Canned Soup .
Maps Campbell's Soup Cans
Initial view
Warhol sent a thirty-two 20-by-16-inch (510 mm 410mm) canvas from Campbell's Portable Soup, each representing a certain variety of the Campbell Soup flavors available at the time. Thirty-two canvas are very similar: each is a realistic portrayal of iconic Campbell Soup, mostly red and white, disguised on a white background. Canvas has small variations in the writing of the names of varieties. Most of the letters are painted in red letters. Four varieties have black letters: Clam Chowder has a black letter under the name of a variation that says (Manhattan Style) , meaning that the soup is a tomato and a broth instead of a New England-based style cream; Beef has a black letter under the name of the varieties that says (With Vegetables and Barley) ; Scotch Broth has a black letter under a variety name that says (A Hearty Soup) ; and Minestrone has a black inscription saying (Italian Style Vegetable Soup) . There are two varieties with the red letter inset label: Beef Broth (Bouillon) and ConsommÃÆ' Â © (Beef). Font size is only slightly different in different names. However, there are some striking font styles. Ancient Tomato Rice is the only varieties with lowercase script. This lowercase script appears to come from a slightly different font than the letters of other variation names. There are other styles of difference. Ancient Tomato Rice has the word Soup portrayed lower on the can, replacing some of the star's ornamental symbols on the bottom of 31 other varieties. Also, Cheddar Cheese has two banner addenda. In the middle-left, a small gold banner reads "New!", And the middle banner of gold says "Great Smoke Also!".
The exhibition opened on July 9, 1962, with Warhol absent. Thirty-two single canvas soups are placed in a single line, like the products on the shelf, each displayed on the narrow margins of the individual. Contemporary impact does not happen, but its historical impact is considered today as a turning point. The gallery audience is not sure what to make of the exhibit. The John Coplans Artforum article, partly triggered by the display of dozens of soup cans by a nearby gallery with a screen that advertises it at three for 60 cents, prompts people to stand on Warhol. Few actually see paintings at a Los Angeles exhibition or in Warhol studios, but the news spreads in the form of controversy and scandal because of attempts that seem to be trying to mimic the appearance of the objects that are made. The long debate about the rewards and ethics of concentrating one's efforts on such a commercial die model keeps Warhol's work in the conversation of the art world. Experts do not believe that an artist will reduce the art form to be equivalent to a trip to a local grocery store. Talk does not translate into monetary success for Warhol. Dennis Hopper was the first of only half a dozen to pay $ 100 for the canvas. Blum decided to try to save thirty-two canvas as a whole set and buy back some sales. This happy Warhol has thought of him as a set, and he agreed to sell the set for ten monthly installments of $ 100 to Blum. Warhol has passed his first serious art performance milestone. While this exhibition was exhibited in Los Angeles, Martha Jackson canceled another planned exhibition in December 1962 in New York.
The Ferus show closed on August 4, 1962, the day before the death of Marilyn Monroe. Warhol went on to buy Monroe's publicity still from the movie Niagara, which was later cut and used to make one of his most famous works: Marilyn's paintings. Although Warhol continues to paint other pop art, including a Martinson coffee tin, Coca-Cola bottle, S & amp; H Green Stamps, and Campbell's soup cans, he was soon recognized by many as an artist who paints celebrities. He returned to the Blum gallery to show off Elvis and Liz in October 1963. His fans, Dennis Hopper and Brooke Hayward (Hopper's wife at the time) held a welcoming party for the event.
Because Warhol does not give an indication of the exact sequence of sequences, the sequence chosen by MoMA (in the image at the top right of this article) on the screen of their permanent collection reflects the chronological order in which varieties were introduced by Campbell. Soup Company, starting with Tomato in the top left, which debuted in 1897. In April 2011, the curator at MoMA had rearranged the varieties, moved the Clam Chowder to the left and Tomato to the bottom of four lines.
Motivation
Some anecdotal stories should explain why Warhol chose Campbell soup cans as the focal point of his pop art. One reason is that he needed a new subject after he left the comic strip, a move taken partly because of his respect for Roy Lichtenstein's subtle work. According to Ted Carey - one of Warhol's commercial art assistants in the late 1950s - it was Muriel Latow who suggested the idea for both cans of soup and early painting of the US dollar at Warhol.
Muriel Latow later became an interior decorator, and owner of Latow Art Gallery in East 60s in Manhattan. He told Warhol he had to paint "Something you see every day and something everyone will recognize, something like a can of Campbell's Soup." Ted Carey, who was there at the time, said that Warhol responded by exclaiming: "Oh that sounds amazing." Carey said Warhol went to the supermarket the next day and bought one case of "all the soup," which Carey thought he saw when he stopped at Warhol's apartment the next day. When art critic G. R. Swenson asked Warhol in 1963 why he painted soup cans, the artist replied, "I used to drink it, I usually eat the same lunch every day, for twenty years."
Another story about Latow's influence on Warhol states that he asked him what he liked best, and because he answered "money" he suggested he paint a US dollar. According to this story, Latow then suggested that in addition to painting money, he had to paint something else very simply, like a can of Sup Campbell.
In an interview for London's Face in 1985, David Yarritu asked Warhol about the flowers Warhol's mother made from the tin cans. In his response, Warhol referred to them as one of the reasons behind his first tin painting:
- David Yarritu: I heard your mother used to make this little lead and sell it to help support you in the early days.
- Andy Warhol: Oh my God, yes, that's right, tin flowers are made from those fruit cans, that's the reason why I made my first cans... You take cans, bigger cans-better, like family size the peach part comes, and i think you cut it with scissors. It's very easy and you just make flowers from them. My mother always had lots of cans, including canned soup.
Some stories mention that the choice of Warhol soup soup reflects his passionate devotion to Campbell's soup as a consumer. Robert Indiana once said: "I know Andy very well.The reason he painted soup cans is that he loves soup." He is considered to focus on them because they are preparing daily food. Others noticed that Warhol only painted things he held close. He enjoys eating Campbell soup, has a taste for Coca-Cola, likes money, and admire movie stars. Thus, they are all subject to his work. Yet another account says that his daily lunch in his studio consists of Campbell's Soup and Coca-Cola, and thus, his inspiration comes from seeing empty cans and bottles piled up on his desk.
Warhol did not choose a can because of his business relationship with Campbell's Soup Company. Although the company at the time sold four out of every five soup cans prepared in the United States, Warhol preferred that the company be excluded "because the whole will be lost with any kind of commercial ties." However, in 1965, the company knew enough of him that he was able to persuade the actual tin label from them to be used as an invitation to the exhibition. They even assigned a canvas.
Messages
Warhol has a positive outlook on ordinary culture and abstract expressionist feelings have tried hard to ignore the grandeur of modernity. The Campbell's Soup Can series, along with other series, gives him the opportunity to express his positive outlook on modern culture. However, the way it kills it tries not to have emotional and social comments. The work was meant to be without individual personality or expression. Warhol's views are summarized in the description of 'Slice of Cake School' magazine, "that"... a group of painters have come to the general conclusion that the most shallow and even vulgar ornament of the modern. civilization can, when transferred to canvas, becomes Art. "
His pop art works are different from serial works by artists such as Monet, who use the series to represent discriminatory perceptions and show that a painter can create changes in time, light, season, and weather with his hands and eyes. Warhol is now understood to represent the modern era of commercialization and "similarity" carelessly. When Warhol finally showed variety, it was not "realistic." The color variation in the future is almost a mockery of discriminatory perceptions. The adoption of the pseudo-industry silkscreen process speaks against the use of the series to show subtlety. Warhol sought to resist discovery and nuance by creating the appearance that his work had been printed, and he systematically created imperfection. His work series helped him escape the long shadow of Lichtenstein. Although the soup cans are not as shocking and vulgar as some of his early pop art works, they still allude to the sensitivity of world art that has grown so as to take part in the intimate emotion of artistic expression.
Comparing with the Caravaggio fruit basket, the luxuriant peaches of Chardin, or the careful arrangement of Cene apples, Campbell's Soup Cans soup gives the world a cool-hearted art. Furthermore, the idea of ​​isolating well-known pop culture goods is ludicrous enough for the art world that both reward and work ethics are a very plausible debate topic for those who have not even seen the work. Warhol's pop art can be seen as a relation to Minimal art in the sense that the art of painting objects in the simplest and easily recognizable form. Pop art eliminates the tone and tone that should be associated with the representation.
Warhol clearly changed the concept of art appreciation. Instead of setting a harmonious three-dimensional object, he chose a mechanical derivative of commercial illustrations with an emphasis on packaging. Variations of some soup cans, for example, make the process of repeating a valued technique: "If you take Campbell's soup and repeat it fifty times, you're not interested in retinal images.According to Marcel Duchamp, what you're interested in is a concept that wants to put fifty cans Campbell's Soup on Canvas. "Multiple depictions can be an abstraction that details are less important than panoramas. In a sense, representation is more important than being represented. Warhol's interest in creation similar to machines during the early days of his pop art was misunderstood by people in the art world, whose systems of value were threatened by mechanization.
In Europe, the audience has different views about his work. Many consider it a subversive and Marxist poem about American capitalism. If not subversive, it is at least considered a Marxist critique of pop culture. Given Warhol's apolitical views in general, this is not the intended message. It is likely that his pop art is nothing more than an attempt to draw attention to his work.
In an effort to complete his artistic message, Warhol developed a pop persona after the mass media recorded his pop art. He began to manifest images like a teenager, immersing himself in pop culture like Rock & amp; Event rolls and fan magazines. While previous artists used repetitions to show their skills in describing variations, Warhol combines "repetition" with "monotony" as he expresses his passion for the theme of the artwork.
Variations
Warhol follows the success of the original series with several related works that blend the same theme with the subject of Soup's Campbell can. The following works together with the original are collectively referred to as the Campbell Supers tin series and are often just as cans of Campbell Sup. Campbell's subsequent soups can be very diverse. Altitude ranges from 20 inches (510 mm) to 6 feet (1.8 m). Generally, cans are described as if they were newly produced cans without defects. Sometimes, he chooses to describe a tin with a torn label, a peeling label, a crushed body, or an open cap (right picture). Sometimes he adds related items such as a bowl of soup or a can opener (in the picture at the bottom right). Sometimes it produces images of related items without tin cans like sculptured boxes of Tomato Juice Campbell Box (top left), which is not entirely part of the series despite part of the theme. Many of these works are now produced in the already-acclaimed studio, "The Factory."
Irving Blum made thirty two original canvases available to the public through arrangements with the National Art Gallery in Washington, DC by placing them on a permanent loan two days before Warhol's death. However, the original Campbell's Soup Cans is now part of the permanent collection of the Museum of Modern Art. Prints called Campbell's Soup Cans II are part of the permanent collection of the Museum of Contemporary Art in Chicago. 200 Campbell's Soup Cans , 1962 (Acrylic on canvas, 72Ã, inches x 100Ã, inches), in the personal collection of John and Kimiko Powers is the largest single canvas of Campbell's Soup cans. It consists of ten rows and twenty columns of various flavors of soup. Experts point to it as one of the most important works of pop art both as a pop representation and as a conjunction with direct predecessors such as Jasper Johns and the successors of the Minimal and Conceptual art movement. Very similar to 100 Cans from the Albright-Knox Art Gallery collection shown above. The earliest soup that can be painted seems to be Fish Soup Mas (Tomato Rice), ink of 1960, tempera, crayon, and oil canvas.
In many works, including the original series, Warhol drastically simplifies the gold medal that appears in Campbell's Soup can by replacing alegor numbers paired with a flat yellow disk. In most variations, the only three-dimensional clue comes from the shade on the lid. Otherwise, the picture is flat. Works with torn labels are regarded as a metaphor of life in the sense that even packaged foods must meet the end. They are often described as expressionist.
In 1970 Warhol fixed the auction price for a painting by an American artist living on a $ 60,000 sale of Big Campbell's Soup Can with Torn Label (1962) in sales at Parke- Bernet, the leading auction house in America that day (later acquired by Sotheby's). The record was broken a few months later by his rival for the attention and approval of the art world, Lichtenstein, who sold the depiction of a giant brush stroke, Big Painting No. 6 (1965) for $ 75,000.
In May 2006, Warhol's Small Campbell Can (Pepper Pot) Potato (1962) sold for $ 11,776,000 and set a current world auction record for a painting of the Campbell Soup Can series. >. The painting was purchased for the collection of Eli Broad, a man who once set a record for the greatest credit card transaction when he bought Lichtenstein's "I... I'm Sorry" for $ 2.5 million with an American Express card. Warhol's $ 11.8 million sale is part of Christie's Sales of the Impressionist, Modern, Post-War and Contemporary Art for Spring 2006 totaling $ 438,768,924.
The wide variety of works produced using a semi-mechanical process with many collaborators, Warhol's popularity, his work values, and the diversity of works in various media and genres have created the need for the Arty Authorship Board of Warhol Andy to authenticate the authenticity of the works by Warhol.
On April 7, 2016, seven Campbell's Camp Discs were stolen from the Springfield Art Museum. The FBI announced a $ 25,000 reward for information about stolen artwork.
Conclusion
Campbell's Soup Production made by Warhol can work through three distinct phases. The first occurred in 1962, where he created a realistic image, and produced many pencil drawings of the subject. In 1965, Warhol reviewed the temporary theme indiscriminately replacing the original red and white with a wider variety of shades. In the late 1970s, he returned to the soup cans as he flipped and flipped the picture. Some in the art world consider Warhol's finished work after the shoot of 1968 - which took place the day before Bobby Kennedy's murder - becomes less significant than it was before.
Currently, Soup is best known by Warhol Campbell is the work of the first stage. Warhol is further regarded as a celebrity glossy silkscreens icon from the likes of Elvis Presley, Marilyn Monroe and Liz Taylor, produced during the 1962-1964 silkscreening phase. His most frequently repeated painting subjects are Taylor, Monroe, Presley, Jackie Kennedy, and similar celebrities. In addition to being a renowned artist, Warhol is a well-known cinematographer, author, and commercial illustrator. After his death, he became the subject of the largest single artist art museum in the United States in 1994. Many Warhol art exhibitions include recording of his cinematic director efforts (eg, Museum of Contemporary Art ANDY WARHOL/SUPERNOVA: Star, Death, Disaster, 1962-1964 that goes from March 18, 2006 - June 18, 2006). Some say that his contribution as a pale artist compared with his contribution as a filmmaker. Others stated clearly that he was not the most conventional artist of his time. Nevertheless, his technique is imitated by other highly respected artists and his works continue to command high prices.
Note
References
External links
- Campbell's Soup Cans , 1962 - Museum of Modern Art, New York
Source of the article : Wikipedia
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