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Дата: 25.01.2018

суп (1964)

Smarthistory — Why is this Art? His process, which foreshadowed his later work, involved pressing wet ink illustrations against adjoining paper. Though the process generally begins with a stencil drawing, it often evolves from a blown up photograph which is then transferred with glue onto silk. In either case, one needs to produce a glue-based version of a positive two-dimensional image positive means that open spaces are left where the paint will appear. Usually, the ink is rolled across the medium so that it passes through the silk and not the glue.

The pieces were made from stencils; one for each color. Stencils such as this are the basis for silkscreening. Although Warhol had produced silkscreens of comic strips and of other pop art subjects, he supposedly relegated himself to soup cans as a subject at the time to avoid competing with the more finished style of comics by Roy Lichtenstein.

The canvases have minor variation in the lettering of the variety names. Most of the letterings are painted in red letters. Four varieties have black lettering: Clam Chowder has parenthetical black lettering below the variety name that said Manhattan Style , which means that the soup is tomato- and broth-based instead of the cream-based New England style; Beef has parenthetical black lettering below the variety name that says With Vegetables and Barley ; Scotch Broth has parenthetical black lettering below the variety name that said A Hearty Soup ; and Minestrone had black parenthetical lettering saying Italian-Style Vegetable Soup.

There are two varieties with red lettered parenthetical labels: The font sizes only vary slightly in the variety names.

However, there are a few notable stylistic font differences. Old-fashioned Tomato Rice is the only variety with lower case script. This lower case script appears to be from a slightly different font than the other variety name letters.

There are other stylistic differences. Old-fashioned Tomato Rice has the word Soup depicted lower on the can, in place of a portion of ornamental starlike symbols at the bottom that the other 31 varieties have. Also, Cheddar Cheese has two banner-like addenda. In the middle-left, a small golden banner says "New!

The exhibition opened on July 9, 1962, with Warhol absent. The thirty-two single soup can canvases were placed in a single line, much like products on shelves, each displayed on narrow individual ledges. The gallery audience was unsure what to make of the exhibit. A John Coplans Artforum article, which was in part spurred on by the responding display of dozens of soup cans by a nearby gallery with a display advertising them at three for 60 cents, encouraged people to take a stand on Warhol.

The pundits could not believe an artist would reduce the art form to the equivalent of a trip to the local grocery store.

Talk did not translate into monetary success for Warhol. Blum decided to try to keep the thirty-two canvases as an intact set and bought back the few sales.

Warhol went on to purchase a Monroe publicity still from the film Niagara , which he later cropped and used to create one of his most well-known works: Example of the variations that Blum saw when determining to introduce him by exhibit. One reason is that he needed a new subject after he abandoned comic strips, a move taken in part due to his respect for the refined work of Roy Lichtenstein. She told Warhol that he should paint "Something you see every day and something that everybody would recognize.

When the art critic G. Swenson asked Warhol in 1963 why he painted soup cans, the artist replied, "I used to drink it, I used to have the same lunch every day, for twenty years.

In his response, Warhol mentioned them as one of the reasons behind his first tin can paintings: I heard that your mother used to make these little tin flowers and sell them to help support you in the early days. You take a tin-can, the bigger the tin-can the better, like the family size ones that peach halves come in, and I think you cut them with scissors.

My mother always had lots of cans around, including the soup cans. Robert Indiana once said: The reason he painted soup cans is that he liked soup. Thus, they all became subjects of his work. Even though the company at the time sold four out of every five cans of prepared soup in the United States, Warhol preferred that the company not be involved "because the whole point would be lost with any kind of commercial tie-in.

However, his deadpan manner endeavored to be devoid of emotional and social commentary. Warhol is now understood to represent the modern era of commercialization and indiscriminate "sameness. His adoption of the pseudo-industrial silkscreen process spoke against the use of a series to demonstrate subtlety. Warhol sought to reject invention and nuance by creating the appearance that his work had been printed, [45] and he systematically recreated imperfections. Furthermore, the idea of isolating eminently recognizable pop culture items was ridiculous enough to the art world that both the merits and ethics of the work were perfectly reasonable debate topics for those who had not even seen the piece.

Pop art eliminates overtones and undertones that would otherwise be associated with representations. Instead of harmonious three-dimensional arrangements of objects, he chose mechanical derivatives of commercial illustration with an emphasis on the packaging.

Many perceived it as a subversive and Marxist satire on American capitalism. It is likely that his pop art was nothing more than an attempt to attract attention to his work.

Whereas previous artists used repetition to demonstrate their skill at depicting variation, Warhol coupled "repetition" with "monotony" as he professed his love of artwork themes. Occasionally, he chose to depict cans with torn labels , peeling labels, crushed bodies, or opened lids images right. Sometimes he added related items like a bowl of soup or a can opener in the image on the right below.

Many of these works were now being produced at the already acclaimed studio, " The Factory. Example of a damaged variation. Another variation of the originals. It is composed of ten rows and twenty columns of numerous flavors of soups. Experts point to it as one of the most significant works of pop art both as a pop representation and as conjunction with immediate predecessors such as Jasper Johns and the successors movements of Minimal and Conceptual art.

Otherwise the image was flat. The works with torn labels are perceived as metaphors of life in the sense that even packaged food must meet its end. They are often described as expressionistic. The first took place in 1962, during which he created realistic images, and produced numerous pencil drawings of the subject. In the late 1970s, he again returned to the soup cans while inverting and reversing the images.

Warhol is further regarded for his iconic serial celebrity silkscreens of such people as Elvis Presley , Marilyn Monroe and Liz Taylor , produced during his 1962—1964 silkscreening phase.

His most commonly repeated painting subjects are Taylor, Monroe, Presley, Jackie Kennedy and similar celebrities. Posthumously, he became the subject of the largest single-artist art museum in the United States in 1994. Stars, Deaths, Disasters, 1962—1964 that ran from March 18, 2006 — June 18, 2006.