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When considering the life and works of Andy Warhol, one thing is agreed upon: for good or bad, he changed the visual construction of the world we live in. By the time of his death in 1987 he was ranked on the same level with Pablo Picasso and Jackson Pollock as one of the three most important artists of this century. He was a working man, a social climber, a person who liked to build things, an acquirer of goods, and a known homosexual. These attributes all contributed to the interesting and complicated nature of his art. Andrew Warhol, was born August 6, 1928 in Pittsburg.
He was the youngest son of Czechoslovakian immigrants. Andrew was born at the time of the Wall Street Crash (1929) and the Great Depression. Like millions of other families, Andrews father could not find work and his early childhood was very difficult and deprived. After several years his family's financial situation improved and he was older he attend a commercial design course at Pittsburgh's Carnegie Institute of Technology. Although he was very shy and had a strong fear of failure, he did very well there. In 1949, Andrew Warhol moved to New York.
After his first commission to illustrate shoes, Andrew noticed that the final a of his name was omitted in the credits and since decided to call himself Andy Warhol (a name that he considered youthful). He quickly became a successful and highly paid commercial artist in the 1950 s but desperately wished for fame as a fine artist. He was unsuccessful in his efforts and sold few exhibits. Andrew became depressed and believed that the fine art world had rejected his art as old fashioned and irrelevant. Andy needed new ideas to help boost his creativity. He got several ideas from a woman named Muriel Law; a gallery owner he knew.
She advised him to paint what he loved most (like money) or what everybody would recognize (soup cans and coke bottles). Andy expanded on these ideas and his paintings of the early 60 s reflected his progress as a Pop artist. He finally gained the financial success and international fame he had longed for. Although Andy was identified with Pop art and credited with its invention, this is a misunderstanding of his creative ability. Pop is much more complicated than it seems.
In creating Pop art, one must create memorable (although sometimes unrealistic) images and awareness of the unpredictable forces in nature and society in whole. It is not simply the portrayal of popular icons but more of an expression of all that is familiar and accepted American society. Pop art also contains a serious sub-message that is not apparent at first sight. Trewin Copplestone, author of The life and works of Andy Warhol, pointed out that Pop artists were aware of this and exploited it: In Warhols later disaster paintings, for instance, he portrays ills in society, as John Ruskin described it in the 19 th century, that is the downside of modern civilization that has to be set against the wealth the benefits it brings: for example death and injury that the car brings against its obvious advantages. It is this factor of focus, and not the common artifacts used, that give Pop, and particularly the work of Warhol, its significance. (3) During his working career, Andy used several different methods and media for producing his art. He was able to create the same subject in different media and by different methods.
Before 1962 he used paint acrylic or oil and stencil for his subjects, included the repeated series of images as in Warhols Campbell Soup cans (Copplestone 14). After 1962 he used variations of silk-screen process as in Warhols Roll of Bills (Copplestone 19). In 1963, Andy began a wide range of disaster works. Under the advice of Henry Geldzahler (a friend and art critic), who felt that everything wasnt so fabulous in America and that it was time to reflect that in Andy's paintings. Andy took his advice and began painting images of death and chaos.
His Red Race Riot is a perfect example of art, which depicts human suffering and the anger and fear felt on both sides. This anguish is emphasized by the suggestion of blood in the overall textured red tint. Other disaster works by Andy included various death images from suicides, auto wreckage's, war scenes and many other vehicles of death. In 1964, Andy began silk-screening images on wooden boxes. He became well known for his boxed commodities, soapboxes and Brillo pad box sculptures. It was during this time that Geldzhaler, his friend who redirected Andy from soup cans, coke bottles, and celebrities into disaster themes, once again advised Andy to leave disasters and paint flowers.
This was big change for Andy who quickly adopted the idea. Warhol and his assistant produced several hundred paintings of flowers in a variety of colors. The first exhibit sold out and the industry continued. Geldzhalers casual idea definitely paid off but it was Andy's creative ability to shape this idea into powerful imagery thats behind it all. Dave Hickey writes in Andy's Enterprise: Nothing Special Warhol did not change the look of the images we see. He changed the way we look at them, the importance we attach to them, and the similarities we see between them. (93) During the 1970 s Andy work moved in a new direction.
He began painting images of common people. He painted various subjects from his mother, to the American Indian Russell Means, to the writer Truman Capote (Andy admired and was attracted to Capote but the feelings were never returned). Andy created many more paintings of those in his life. He also painted several self-portraits that I find interesting because they are all partly disguised in some way (I have been unable to find one clear picture of him). Images of Warhol range from half silhouette blurred portraits to pictures from his earlier years wearing dark sunglasses or even more interesting an army camouflaged face with the jigsaw like pieces disguising his true form. By 1982, Andy had begun to lose some of his creative energy.
His lack of direction was evident during this period through his $ 9 painting a work which depicts nine dollar signs in various shades and colors. In the year before his death, Andy made of silk-screened prints of commercial ads with some deviations from the original. It was a kind of return to his original career as a commercial artist, but with the confidence he lacked before. He had indeed crossed the final bridge by turning commerce into art by his belief that anything could be art if he said so.
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Research essay sample on Andy Warhol Pop Art
The Pop Art Movement Essay
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The Pop Art Movement
Pop art got its name from Lawrence Alloway, who was a British art critic in 1950’s. The name “Pop Art” reflected on the “familiar imagery of the contemporary urban environment” (kleiner, 981). This art form was popular for its bold and simple looks plus its bright and vibrant colors. An example of this type of art is the oil painting done by Andy Warhol, “Marilyn Diptych” (Warhol, Marilyn Diptych) in 1962. The Pop art movement became known in the mid-1950 and continued as main type of art form until the late 1960’s. The Pop art movement, was a movement where medium played a huge part in the society, with it reflecting on advertisements, comic strips and even celebrities, like Marilyn. This movement also has a large…show more content…
“The movement's rise was aided by parallel growth in other areas” (ENCYCLOPEDIA OF ART HISTORY). Though after the Pop art movement’s peak during the mid-1960s, the movement took a turn, and found itself losing its popularity; when the Vietnam War was in effect; by the late 1960’s and early 1970’s the pop art movement had ended.
Though this Pop Art movement happened in a few other countries other than the United States and Britain; the movement was also reflected in the country, France. Though in France their movement was known as “Nouveau Réalisme, which is the equivalent to the Pop art movement” (The Art Story Foundation ). This movement reflected the Pop art movement both focused on commercial culture, the Nouveau Réalisme and its artists focused more on their “concerned with objects than with painting” (The Art Story Foundation ).Another movement that the pop art movement was link to in a way was its counterpart in Germany known as Capitalist Realism. Though this movement was a “movement that focused on subjects taken from commodity culture and utilized an aesthetic based in the mass media” (The Art Story Foundation ).The artist within this movement wanted to “expose consumerism and superficiality of contemporary capitalist society by using the imagery and aesthetic of popular art and advertising within their work” (The Art Story Foundation ). These two movements were two movement that were linked to the Pop Art movement.
Throughout the Pop art