He used a variety of canvases and papers. Producing art in a systematic manner similar to an assembly line, Warhol gave rise to series or portfolios of his beloved celebrities.
Even today, these massively recognizable images serve as a beacon of popular culture. Similar to his other works, his sculptures replicated commercial symbols and ideologies. His best known sculpture from this series is probably his Brillo Boxes, As the name suggests, Warhol applied silkscreened logos of the consumer product onto plywood boxes. The resulting appearance was identical to the logoed boxes often see in supermarkets.
These sculptures were first exhibited at the Stable Gallery in and called to question what can be considered as fine art. All rights reserved. Privacy Policy. My Favorite Items. Masterworks Fine Art. Toggle navigation. Urban Art Brainwash , Mr. Andy Warhol Campbell's Soup, View All. Yaacov Agam Sculpture Levels Menorah, Related Artists Jasper Johns 2 available works.
Roy Lichtenstein 17 available works. Andy Warhol 10 available works. Escher 0 available works. Jim Dine 2 available works. Frank Stella 13 available works. Why Andy Warhol? Other images may be protected by copyright and other intellectual property rights. Gift of Robert H. Modern Art. Currently on public view: Broad Contemporary Art Museum, floor 3 Since gallery displays may change often, please contact us before you visit to make certain this item is on view.
The show featured thirty-two paintings, representing each variety of soup available at that time. For one thing, Irving Blum, one of the owners of Ferus Gallery, chose to display the paintings on narrow shelves running the length of the gallery, not unlike a supermarket aisle. In fact, what little response that came from either the public or art critics could be harsh.
A cartoon in the Los Angeles Times lampooned the paintings and their supposed viewers. Get the Original. Our Low Price — Two for 33 Cents. Despite it all, Blum managed to sell five paintings—mostly to friends, including actor Dennis Hopper. But even before the show closed, he did an abrupt about-face. For one thing, they made art fun.
How hard could it be to understand a painting when the original was probably on your kitchen shelf? The whole story sounds as apocryphal as most of the other origin stories connected to Warhol—except that one biographer claims to have seen the actual check Warhol wrote to Latow.
He got his old boyfriend Ed Wallowitch, a skilled photographer, to give him shots of soup cans in every state: pristine and flattened, closed and opened, single and stacked. And then, for something like the following year, the front room at the top of his town house saw him meticulously hand-painting those products onto canvases of every size.
His goal was to make his soup paintings look as plain and direct as he possibly could, as though the cans had leaped straight from the supermarket shelf, or the kitchen counter or trash, onto his canvases. He was right, it did—and in the process it exploded almost every notion of what art should be and what an artist should do.
If Picasso had radically altered the look of fine art, Warhol did him one better by challenging its fundamental nature and status: Was an artist who merely reproduced the fronts of soup cans descending to the level of a labelmaker—or, worse, of a mere copyist—or could appropriation, as an artistic gesture, trump any actual gesture an artist might make with hand and brush?
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