Have you ever thought about what your favorite Campbell’s soup is? Well, I have to say that Campbell’s Homestyle Chicken Noodle Soup is my favorite. In the Campbell’s Soup Cans painting by Andy Warhol, it more than likely includes each of our favorites since it has thirty-two different soups. Today we will examine many facts related to the painting including information about the painting, the artist of the image, the patron, and the importance of this painting. First, we will look at the image information. In 1962, Andy Warhol painted Campbell’s Soup Cans. The soup cans were painted using synthetic polymer paint and mimicked silk-screened images. The painting is a collection of thirty-two canvases, each containing a depiction of different …show more content…
The patron for Andy Warhol’s Campbell’s Soup Cans was Irving Blum. Irving Blum was born in 1930 in New York. His family moved to Arizona during the war in 1942. During his younger years, Blum became interested in theater. Once he began to work in the theater, Irving Blum soon found that theater was not for him. Irving happened to visit museums while in New York and realized that he had an interest in art. In 1957, Irving moved to California and a year later Blum was able to buy a share in the Ferus Gallery in Los Angeles. The Ferus Gallery was the first gallery in Los Angeles to show contemporary American art. In showing contemporary American art, the gallery helped establish reputations for New York artists such as Roy Lichtenstein, Frank Stella, and Andy Warhol. In 1962, Andy Warhol had his first solo exhibition at Ferus Gallery. Mr. Warhol’s exhibition was so successful that night that he sold five of the canvases from the Campbell’s Soup Cans collection. Irving Blum, being an art dealer and collector at that time, bought them back so that he could keep the set intact (Cummings). He paid one thousand dollars for the whole set of soup can paintings. Later on, Blum partially sold and partially gifted the collection to The Museum of Modern Art, where it is still located today (The Museum of Modern …show more content…
The subject of the painting by Andy Warhol is, of course, soup cans. Mr. Warhol hand painted each of the thirty-two soup cans. Since the cans were hand painted, there are some small inconsistencies among each soup can. Some of the inconsistencies are that the red paint looks orange on some of the cans, there are variations in the black shadows on the silver tops, and one of the cans is missing a gold ring. Even though there were inconsistencies, Warhol was still able to accurately depict the most recognizable soup cans from the store. When they were first installed at MOMA, the canvases were placed in four rows with three inches between each one. The museum decided on this arrangement so the viewers could easily see all thirty-two canvases. The canvases were arranged to reflect the chronological order in which the soups were introduced. Now, the soup cans are displayed on an eye-level shelf. Being displayed on a shelf that wraps around the room, draws the viewer to look at the soup cans one by one (The Museum of Modern
The room was set up by having paintings on the walls with a sculpture directly in the center. This was the focal point of the room, Soundsuit, by Nick Cave. This piece was rich in color and character and I was immediately drawn to it. When I rounded the corner of the gallery there were many extravagant pieces such as Untitled #8 (2014) by Mickalene Thomas and Woman Under Willow (2014). Both pieces are inspired by Matisse, rich in color, and represent woman. The American gallery does a good job transitioning from one piece to another because each work is similar in some aspects. This gallery was less organized and different mediums were presented all throughout. There was a traditional quilt, Tar Beach 2 (1990) displayed in the same area as mediums such as wooden panels, oil pastel, and the metal hood of a car. This gallery and collection inspired by Matisse displayed many breathtaking works that I enjoyed seeing.
Gallery 19 of the Museum of Modern Art features Pop Art trailblazers of the early 1960s, ranging from Roy Lichtenstein’s “Girl with Ball” to Andy Warhol’s “Gold Marilyn Monroe.” Alongside these emblematic works of art, there hangs a more simplistic piece: a six foot square canvas with three yellow letters, entitled “OOF.” The work of art, created by Ed Ruscha in 1962, is a painting that leaves little room for subjective interpretation as does the majority of his work. Ruscha represented the culture in the 1960s through his contributions to the transition from Abstract Expressionism to Pop Art, efforts to redefine what it meant for a painting to be fine art, and interpretation of the Space Race.
Andy Warhol was a graphic artist, painter, and film maker, amoung other things, also associated with Pop Art. He moved to New York, around 1950, where he did his first advertisements as a comercial artist and, later, began showing in expositions. One technique employed by Warhol involved repeditive silk screen prints on canvas. He used this method to produce many series of prints with various, easily reconizable images. Between 1962 and 1964 in his self titled studio “The Factory”(Phaidon 484), Warhol produced over two thousand pictures. One of these, Lavender Disaster, was made in 1963 and belonged to a series of pictures all including the same image of an electric chair.
are depicted with the same degree of variation. To understand such a diverse set of paintings –
The Museum of Contemporary Art Detroit (MOCAD) had three different artists work on display. It was split up into three different rooms the first room was Design 99 To Much of a Good Thing and in the next room is Latoya Ruby Frazier Mother May I and in the last room was Jef Geys Woodward Avenue. The art that was on display was not traditional art work. All of the artist’s work displayed in the Museum of Contemporary Art Detroit was out of the box thinking. The flow in each exhibit made it easy to move from one piece of art work to another piece of work.
Warhol, Andy, and Pat Hackett. POPism: the Warhol '60s. San Diego: Harcourt Brace Jovanovich, 1990. Print.
Campbell’s Soup Cans, consisted of thirty-two canvases, one for each flavor of Campbell’s Soup variety sold at the time. Each canvas was hand-painted, and he carefully reproduced the same image on each one, only varying on the label for each can, differentiating them by their variety. It was shortly after he completed this work, that he began to use the photo-silkscreen process.
Dutch Banketj paintings and Spanish Bodegónes paintings both feature sumptuous arrangements of food but how they do
closer to the bottom of the painting there is a heavier use of oranges, yellows
Its sales of $4.5 billion(75% U.S and Canada and 25% overseas) came from soup products, (where Campbell's U.S market share was approximately 60%) spaghetti products, canned vegetable juices, forzen dinners, bakery products, and new enterprises in 1987. With $1.6 billion of its 1987 revenues coming from soup products, Campbell dominated two of the three primary segments of that market. condesed soup, ready to serve(RTS), dry soup.
This painting by Vincent Van Gogh is on display at the Art Institute of Chicago Museum, in the Impressionism exhibit. There are many things going on in this painting that catch the viewer’s eye. The first is the piece’s vibrant colors, light blues and browns, bright greens, and more. The brush strokes that are very visible and can easily be identified as very thick some might even say bold. The furniture, the objects, and the setting are easy to identify and are proportioned to each other. There is so much to see in this piece to attempt to explain in only a few simple sentences.
Campbell's Soup Cans work suggests a mechanical uniformity that is repeated in the thousands of homes that have a similar object, a banal and common representation of the spirit of our time. Warhol continued to express his ideas about consumerism and kept using repetition in his work. He created several works that involved the same theme of Campbell’s Soup Cans throughout the years.Campbell’s Soup Cans is a work of art produced by pop artist Andy Warhol in 1962. It consists of thirty two canvases of the same size, each 20x16 inches, with a painting of one can of Campbell’s soup, each representing one of the flavors that the company offered in that time. Because of this, it is also known as 32 Campbell’s Soup Cans. The individual paintings were done with a semi mechanized process of serigraphy ("Campbell's Soup Cans").
This paper deals, in broadest terms, with the questions of how artwork is connected to the changes and dynamics that prevail in a society. To describe these changes, I will investigate how a specific type of art reflects its social content in contemporary societies. My analysis is carried out by closely looking at the Pop Art movement, especially with Andy Warhol, who has come to be known as one of the greatest artists of the 20th century. It will be argued that Pop Art managed to successfully articulate its time, and in so doing, it became a widely influential art movement whose effect is still very much existent in today’s world of art. In order to prove its claim, this paper relies on the theory of “the field of cultural production” by Pierre
The use of space in The Milkmaid is unequal. There is a lot of empty space on the right side of the picture. There is only a foot warmer on the right lower side; I do see a little bit of the loneliness that the maid is feeling in this paint. In contrast, on the left side, there are a lot of objects; it tells me that the maid is busy with her daily jobs. The opposite of the dark and light left the right side of the picture even more empty spaces. I think that Vermeer painted a foot warmer on the right side with a reason. The warmer warms up the empty space on the right side, or it warms up the loneliness behind the maid. The milkmaid is applied with the utmost economy, Vermeer brushstrokes being judicious and almost calligraphic.
theartstroy.org. 2013. The web. 22 November 2013. Warhol, Andy.