Wikipedia - Benutzerbeiträge [de]

Religion des antiken Griechenland

2008-01-22T18:59:03Z

165.155.200.144: /* Terminology */

'''Greek religion''' encompasses the collection of beliefs and rituals practiced in [[Ancient Greece]] in form of [[cult (religion)|cult practices]], there for the practical counterpart of [[Greek mythology]]. Within the Greek world, religious practice varied enough so that one might speak of ''Greek religions.'' The cult practices of the Hellenes extended beyond mainland Greece, to the islands and coasts of [[Ionia]] in [[Asia Minor]], to [[Magna Graecia]] (Sicily and southern Italy), and to scattered Greek colonies in the Western Mediterranean, such as [[Massalia]] (Marseille). Greek examples tempered [[Etruscan mythology|Etruscan cult and belief]] to inform much of the [[Roman religion]].

There is a scholarly belief that early Greek religion came from, or was strongly influenced by, [[Shamanism|shamanistic]] practices from the [[steppe]]s of [[Central Asia]] to the Greek colony of [[Olbia, Ukraine|Olbia]] in [[Scythia]], on the northern shore of the [[Black Sea]], then all the way down to Greece.{{rf|1|West1}}

HHII!

==Pantheon==
{{main|Greek pantheon}}
[[Image:Olympians.jpg|thumb|left|The thirteen gods of [[Olympus]].]]
There was no single truth about the gods. Although the different Greek peoples all recognized the 13 major gods ([[Zeus]], [[Hera]], [[Poseidon]], [[Apollo]], [[Artemis]], [[Aphrodite]], [[Ares]], [[Hephaestus]], [[Athena]], [[Hermes]], [[Demeter]], [[Hestia]] and [[Dionysus]]), in different locations these gods had such different histories with the local peoples as often to make them rather distinct gods or goddesses. Different cities worshipped different deities, sometimes with [[epithet]]s that specified their local nature; [[Athens]] had [[Athena]]; [[Sparta]], [[Nike (mythology)|Nike]] and [[Artemis]]; [[Corinth]] was a center for the worship of [[Aphrodite]]; [[Delphi]] and [[Delos]] had [[Apollo]]; [[Olympia, Greece|Olympia]] had [[Zeus]], and so on down to the smaller cities and towns. Identity of names was not even a guarantee of a similar [[cult]]us; the Greeks themselves were well aware that the Artemis worshipped at Sparta, the virgin huntress, was a very different deity from the Artemis who was a many-breasted [[fertility rite|fertility goddess]] at [[Ephesus]]. When literary works such as the [[Iliad]] related conflicts among the gods because their followers were at war on earth, these conflicts were a celestial reflection of the earthly pattern of local deities. Though the worship of the major deities spread from one locality to another, and though most larger cities boasted temples to several major gods, the identification of different gods with different places remained strong to the end.

==Cultus==
There was no single true way to live in dealing with the gods. "The things that have to do with the gods" had no fixed center, and responsibilities for these things had a variety of forms. Each individual city was responsible for its own [[Greek temple|temples]] and [[sacrifice]]s, but it fell to the wealthy to sponsor the "''leitourgeiai''" (literally, "works for the people," from which the word "[[liturgy]]" comes) --the festivals, processions, choruses, dramas, and games held in honor of the gods. "''[[Phratry|Phratries]]''" (members of a large hereditary group) oversaw observances that involved the entire group, but fathers were responsible for sacrifices in their own households, and women often had autonomous religious rites.

Individuals had a great deal of autonomy in dealing with the gods. After some particularly striking experience, they could bestow a new title upon a god, or declare some particular site as sacred. No authority accrued to the individual who did such a thing, and no obligation fell upon anyone else--only a new opportunity or possibility was added to the already vast and ill-defined repertoire for nomizeining the gods.

[[Image:NAMA Sacrifice aux Charites.jpg|thumb|right|Tablet with a depiction of a sacrifice to the [[nymphs]], from [[Pitsa panels|Pitsa]] ([[Peloponnese]])]]
Finally, the lines between divinity and humanity were in some ways clearly defined, in other ways ambiguous. Setting aside the complicated genealogies in which gods sired children upon human women and goddesses bore the children of human lovers, after death historical individuals could receive cultic honors for their deeds during life--in other words, a [[hero|hero cult]]. Indeed, even during life, victors at the [[Olympic games|Olympics]], for instance, were considered to have acquired extraordinary power, and on the strength of their glory ([[kudos]]), would be chosen as generals in time of war. Itinerant healers and leaders of initiatory rites would sometimes be called into a city to deliver it from disasters, without such a measure implying any disbelief in the gods or exaltation of such "saviors." To put it differently, [[salvation|"''sôteria''" ("deliverance," "salvation")]] could come from divine or human hands and, in any event, the Greeks offered cultic honors to abstractions like Chance, Necessity, and Luck, divinities who stood in ambiguous relation to the personalized gods of the tradition. All in all, there was no "[[dogma]]" or "[[theology]]" in the Greek tradition, no [[heresy]], possibility of [[schism]], or any other social phenomenon articulated according to the background orientation to a codified order of religious understanding. Such variety in Greek religion reflects the long, complicated history of the Greek-speaking peoples.

Greek religion spans a period from [[Minoan civilization|Minoan]] and [[Mycenaean period|Mycenean]] periods to the days of [[Hellenistic]] Greece and its ultimate conquest by the [[Roman Empire]]. Religious ideas continued to develop over this time; by the time of the earliest major monument of Greek literature, the ''[[Iliad]]'' attributed to [[Homer]], a consensus had already developed about who the major Olympian gods were. Still, changes to the canon remained possible; the ''Iliad'' seems to have been unaware of [[Dionysus]], a god whose worship apparently spread after it was written, and who became important enough to be named one of the [[Twelve Olympians|twelve chief Olympian deities]], ousting the ancient goddess of the hearth, [[Hestia]]. It has been written by scholars that Dionysus was a "foreign" deity, brought into Greece from outside local cults, external to Greece proper. {{rf|2|West2}} {{rf|3|Riu1}}

Quoting [[William Smith (lexicographer)|Smith]]'s [[Dictionary of Greek and Roman Biography and Mythology]], article on Zeus, "According to the Homeric account Zeus, like the other Olympian gods, dwelt on Mount Olympus in Thessaly, which was believed to penetrate with its lofty summit into heaven itself (77. i. 221, &c., 354, 609, xxi. 438). He is called the father of gods and men (i. 514, v. 33 ; comp. Aeschyl. Sept. 512), the most high and powerful among the immortals, whom all others obey (II. xix. 258, viii. 10, &c.)." {{rf|4|Smith1}}

In addition to the local cults of major gods, various places like crossroads and sacred [[grove (nature)|grove]]s had their own [[tutelary]] spirits. There were often [[altar]]s erected outside the precincts of the temples. Shrines like ''[[herma]]i'' were erected outside the temples as well. [[Hero]]es, in the original sense, were [[demigod]]s or deified humans who were part of local [[legend]]ary history; they too had local [[Greek hero cult|hero-cults]], and often served as [[oracle]]s for purposes of [[divination]]. Religion was first and foremost traditional; the idea of novelty or innovation in worship was out of the question, almost by definition. Religion was the collection of local practices to honour the local gods.

Scholar Andrea Purvis has written on the private cults in Ancient Greece as a traceable point for many practices and worship of deities.

A major function of religion was the validation of the identity and culture of individual communities. The [[myth]]s were regarded by many as history rather than [[allegory]], and their embedded [[genealogy|genealogies]] were used by groups to proclaim their [[divine right]] to the land they occupied, and by individual families to validate their exalted position in the [[social order]].

==Mystery religions==
Those whose spiritual leanings were not satisfied by the public cult of the gods could turn to various [[mystery religion]]s. Here, they could find religious consolations that the traditional cultus could not provide: a chance at mystical awakening, a systematic religious doctrine, a map to the [[afterlife]], a communal worship, and a band of spiritual fellowship. Some of these mysteries, like the mysteries of [[Eleusis]] and [[Samothrace]], were ancient and local. Others were spread from place to place, like the mysteries of [[Dionysus]]. During the [[Hellenistic]] period and the [[Roman Empire]], exotic mystery religions like those of [[Osiris]] and [[Mithras]] became widespread.

==Hellenism==
{{main|Hellenistic religion|Neoplatonism|Hellenistic Judaism|Greek magical papyri|Imperial cult (ancient Rome)|Gnosticism}}

== Christianization ==
{{main|End of Hellenic Religion}}

In the late 4th century, the Imperial courts were predominantly Christian, as was the populace{{Fact|date=July 2007}}; [[Christianity]] tolerated relatively few internal quarrels; and a deep conviction that right belief, [[orthodoxy]], was what mattered to God. The Christian emperors closed pagan oracles, temples and end the pagan games by decrees, in a series of increasingly stringent decrees.
Finally, the public practice of the Greek religion was made illegal by the Emperor [[Theodosius I]] and this was enforced by his successors. The Greek religion, stigmatized as "[[paganism]]", the religion of country-folk (''pagani'') - other scholars suggest the force of ''paganus'' was "(mere) civilian" - survived only in rural areas and in forms that were submerged in [[Christianized rite]] and ritual, as Europe entered into the [[Dark Ages]].

The European [[Renaissance]] scarcely touched Greece. [[Renaissance humanism]] in Italy and western Europe included the rediscovery and reintroduction of the culture and learning of ancient Greek thought and philosophy, which included a renewed appreciation of the ancient religion and myth, reinterpreted from a humanist point-of-view.

==Polytheistic revivals==
{{main|Hellenic Neopaganism}}
[[Image:YSEE ritual.jpg|thumb|250px|right|A ceremony at the annual Prometheia festival of the Greek polytheistic group [[Supreme Council of Ethnikoi Hellenes]], June 2006.]]
"Hellenismos", as the religion was named by the Emperor [[Julian the Apostate]],{{Fact|date=February 2007}} has experienced a number of revivals, in the arts, humanities and spirituality of the [[Renaissance]] as well as contemporary [[Neopagan]] [[Hellenic polytheism]].

Many [[neo-pagan]] religious paths, such as [[Wicca]], use aspects of ancient Greek religions in their practice; [[Hellenic polytheism]] focuses exclusively thereon, as far as the fragmentary nature of the surviving source material allows. It reflects [[neo-Platonic]]-[[Platonic]] speculation (which is represented in [[Porphyry (philosopher)|Porphyry]], [[Libanius]], and [[Julian the Apostate|Julian]]), as well as Classical cult practice.

The overwhelming majority of modern Greeks are Greek Orthodox. According to estimates, there are perhaps as many as 10,000 polytheist followers out of a total Greek population of 10 million. The Neopagan revival is limited largely to the transient communities of the Greek islands. Temple worship is unknown, there are no real congregations.

Subsequent to a 2006 court decision that officially recognised the revived ancient Greek religion, followers aspire to have the right to perform marriages, baptisms and funerals as afforded to [[druid]]s in Britain who worship at [[Stonehenge]], and Danish believers in Thor and the Nordic gods.{{rf|5|BBC}}

==Notes==

*{{ent|1|West1}} [[Martin Litchfield West]], ''The Orphic Poems'', p.148, cf. Figure 2, entitled "Patterns of Shamanistic influence in Bronze Age and Archaic Greece" - a map showing the migration of Central Asian shamanism to the Greek colony of Olbia in Scythia (now in the Ukraine), down to [[Proconnesus]], then down to [[Samos Island|Samos]]. On p.146, West writes: "There is reason to believe that in classical times, Shamanistic practice and ideology extended across the Steppes into the northern territories of the [[Indo-Europeans|Indo-European]] tribes, from Northwest India and [[Bactria]] to [[Scythia]] to [[Thrace]]. It is also in [[Ionia]] that we located the development in the sixth century [BC] of an ecstatic [[Dionysus|Bacchic]] cult which adopted [[Orpheus]] as its prophet (as also did [[Pythagoras]]). And we saw that this cult flourished right on the northern shore of the Black Sea, at Olbia, where a Scythian King participated in it (pp.17-18). One is led to wonder how much of the shamanistic influence which we detect in the culture of the archaic Ionians came to them in fact from their own [[Pontic]] colonies, and the direct contact with the Scyths which they had there." West then cites some works, including ''Shamanism'' by Mircea Eliade, pp. 390-1, 394-421 and ''Scythica'' by Karl Meuli.
*{{ent|2|West2}} M.L. West, ibid., p.17. "In another place Herodotus tells us of a cult of Dionysos Baccheios, Dionysos of the Bacchoi, at Borysthenes ([[Olbia, Ukraine|Olbia]]), one of the noteworthy of all Greek colonies".
*{{ent|3|Riu1}} Xavier Riu, ''Dionysism and Comedy'', p. 104, "Dionysus comes from the Outside-- the other world".
*{{ent|4|Smith1}} [[William Smith (lexicographer)|William Smith]], ''[[Dictionary of Greek and Roman Biography and Mythology]]'', 1870, article on Zeus, [http://ancientlibrary.com/smith-bio/3655.html]
*{{ent|5|BBC}} Malcolm Brabant, {{cite news| url=http://news.bbc.co.uk/1/hi/world/europe/6283907.stm |title=Zeus devotees worship in Athens |publisher=http://news.bbc.co.uk |date=[[2007-01-27]] |accessdate=2007-01-24}}

==References==
{{reflist}}
* Albertus Bernabé (ed.), ''Orphicorum et Orphicis similium testimonia et fragmenta. Poetae Epici Graeci. Pars II. Fasc. 1.'' [[Bibliotheca Teubneriana]], München/Leipzig: K.G. Saur, 2004. ISBN 3-598-71707-5. [http://ccat.sas.upenn.edu/bmcr/2004/2004-12-29.html review of this book]
* [[Walter Burkert]], ''Greek Religion.'' Boston: Harvard University Press, 1987. ISBN 0-674-36281-0. Widely regarded as the standard modern account.
* Walter Burkert, ''[[Homo necans]]'', 1972.
*[[Arthur Bernard Cook|Cook, Arthur Bernard]], ''Zeus: A Study in Ancient Religion'', (3 volume set), (1914-1925). New York, Bibilo & Tannen: 1964. [http://www.amazon.com/dp/B0006BMDNA ASIN B0006BMDNA]
**Volume 1: ''Zeus, God of the Bright Sky'', Biblo-Moser, [[June 1]], [[1964]], ISBN 0-8196-0148-9 (reprint)
**Volume 2: ''Zeus, God of the Dark Sky (Thunder and Lightning)'', Biblo-Moser, [[June 1]], [[1964]], ISBN 0-8196-0156-X
**Volume 3: ''Zeus, God of the Dark Sky (earthquakes, clouds, wind, dew, rain, meteorites)''
* [[E. R. Dodds|Dodds, Eric Robertson]], ''The Greeks and the Irrational'', 1951.
* [[Mircea Eliade]], ''Shamanism: Archaic Techniques of Ecstasy'', 1951.
* Lewis Richard Farnell, ''Cults of the Greek States'' 5 vols. Oxford; Clarendon 1896-1909. Still the standard reference.
* Lewis Richard Farnell, ''Greek Hero Cults and Ideas of Immortality, 1921.
*Jack Finegan, ''Myth and Mystery: An Introduction to the Pagan Religions of the Biblical World'', 1989. ISBN 0-8010-2160-X
* [[George Grote]], ''A History of Greece: From the earliest period to the close of the generation contemporary with Alexander the Great'', 1846.
* [[Jane Ellen Harrison]], ''Prolegomena to the Study of Greek Religion,'' 1903. An early classic, against which many modern accounts have reacted.
* Jane Ellen Harrison, ''Themis: A Study of the Social Origins of Greek Religion'', 1912. [http://www.lib.uchicago.edu/cgi-bin/eos/eos_title.pl?callnum=BL781.H32]
* Jane Ellen Harrison, ''Epilegomena to the Study of Greek Religion'', 1921.
* [[Karl Kerényi]], ''The Gods of the Greeks''
* Karl Kerényi, ''Dionysus: Archetypical Image of Indestructible Life''
* Karl Kerényi, ''Eleusis: Archetypal Image of Mother and Daughter.'' The central modern accounting of the [[Eleusinian Mysteries]].
* Karl Meuli, ''Scythica'', 1935.
* Jon D. Mikalson, ''Athenian Popular Religion.'' Chapel Hill: University of North Carolina Press, 1983. ISBN 0-8078-4194-3.
* [[William Mitford]], ''The History of Greece'', 1784. Cf. v.1, Chapter II, ''Religion of the Early Greeks''
* Clifford H. Moore, ''The Religious Thought of the Greeks, 1916.
* Martin P. Nilsson, ''Greek Popular Religion'', 1940. [http://www.sacred-texts.com/cla/gpr/]
* Martin P. Nilsson, ''History of Greek Religion'', 1949.
* Robert Parker, ''Athenian Religion: A History'' Oxford: Clarendon Press, 1996. ISBN 0-19-815240-X.
* Andrea Purvis, ''Singular Dedications: Founders and Innovators of Private Cults in Classical Greece'', 2003.
* William Ridgeway, ''The Dramas and Dramatic Dances of non-European Races in special Reference to the Origin of Greek Tragedy, with an Appendix on the Origin of Greek Comedy'', 1915.
* William Ridgeway, ''Origin of Tragedy with Special Reference to the Greek Tragedians'', 1910.
* Xavier Riu, ''Dionysism and Comedy'', Lanham: Rowman and Littlefield Publishers, 1999. ISBN 0-8476-9442-9.
* [[Erwin Rohde]], ''Psyche: The Cult of Souls and Belief in Immortality among the Greeks'', 1925.
* [[William Smith (lexicographer)|William Smith]], ''[[Dictionary of Greek and Roman Biography and Mythology]]'', 1870, [http://www.ancientlibrary.com/smith-bio/]
* William Smith, ''[[Dictionary of Greek and Roman Antiquities]]'', 1870. [http://www.ancientlibrary.com/smith-dgra]
* [[Martin Litchfield West]], ''The Orphic Poems'', 1983.
* Martin Litchfield West, ''Early Greek philosophy and the Orient'', Oxford, Clarendon Press, 1971.
* Martin Litchfield West, ''The East Face of Helicon: west Asiatic elements in Greek poetry and myth'', Oxford [England] ; New York: Clarendon Press, 1997.

==See also==

* [[Greek mythology]]
*[[Orphism (religion)|Orphism]]
* [[Magic in the Greco-Roman world]]
* [[Religion in ancient Rome]]
* [[Roman mythology]]
* [[Paganism]]

{{paganism}}

[[Category:Ancient Greek religion|*]]

[[br:Relijion er gevredigezh hellazek]]
[[el:Αρχαία ελληνική θρησκεία]]
[[es:Religión de Grecia Antigua]]
[[fr:Religion grecque antique]]
[[hi:ग्रीक धर्म]]
[[he:דת יוון העתיקה]]
[[la:Religio Graeca]]
[[nl:Oud-Griekse godsdienst]]

Campbell’s Soup Cans

2007-05-10T17:20:05Z

165.155.200.144:

{{featured article}}
{{otheruses}}

{{Painting| image_file=Campbells Soup Cans MOMA.jpg
| title=Campbell's Soup Cans
| artist=[[Andy Warhol]]
| year=1962
| type=[[Synthetic polymer]] paint on [[canvas]]
| height=Each 50.8
| width=40.6
| height_inch=20
| width_inch = 16
| diameter_cm =
| diameter_inch =
| city=[[New York, NY]] (32 canvas series displayed by year of introduction)
| museum=[[Museum of Modern Art]]}}

'''''Campbell's soap bars(sometimes referred to as '''''32 Campbell's Soup Cans''''')<ref>Frazier, p. 708</ref> is a work of art produced in 1962 by [[Andy Warhol]]. It consists of 32 canvases, each measuring 20 inches in height × 16 inches in width (50.8 × 40.6 cm) and each consisting of a painting of a [[Campbell Soup Company|Campbell's Soup]] can — one of each of the [[canned soup]] varieties the company offered at the time.<ref name="MoMA">{{cite web|url=http://www.moma.org/collection/browse_results.php?object_id=79809|accessdate=2007-03-09|publisher=The Museum of Modern Art|date=2007|title=The Collection}}</ref> The individual paintings were produced with a semi-mechanized [[silkscreen]] process, using a non-[[painterly]] style. ''Campbell's Soup Cans''' reliance on themes from [[popular culture]] helped to usher in [[pop art]] as a major [[art movement]].

For Warhol, a commercial [[illustrator]] who became a successful [[author]], [[painter]], and [[film director]], the work was his first one-man [[art gallery|gallery]] exhibition as a [[fine artist]].<ref name="An38">Angell, p. 38</ref><ref name="L32">Livingstone, p. 32.</ref> First exhibited in the [[Ferus Gallery]] of Los Angeles, it marked the [[West Coast of the United States|West Coast]] debut of pop art.<ref name="L158">Lippard, p. 158.</ref> The combination of the semi-mechanized process, the non-[[painterly]] style, and the commercial subject initially caused offense, as the work's blatantly mundane commercialism represented a direct affront to the technique and philosophy of [[abstract expressionism]]. The abstract expressionism art movement was dominant during the post-[[World War II|war]] period, and it held not only to "[[fine art]]" values and [[aesthetics]] but also to a [[Mysticism|mystical]] inclination. This controversy led to a great deal of debate about the merits and ethics of such work. Warhol's motives as an [[artist]] were questioned, and they continue to be topical to this day. The public commotion helped transform Warhol from being an accomplished 1950s commercial illustrator to a notable fine artist, and it helped distinguish him from other rising pop artists. Although commercial demand for his paintings was not immediate, Warhol's association with the subject led to his name becoming synonymous with the Campbell's Soup can paintings.

Warhol subsequently produced a wide variety of [[Work of art|art works]] depicting Campbell's Soup cans during three distinct phases of his career, and he produced other works using a variety of images from the world of commerce and mass media. Today, the Campbell's Soup cans [[Theme (visual arts)|theme]] is generally used in reference to the original set of paintings as well as the later Warhol [[drawing]]s and [[painting]]s depicting Campbell's Soup cans. As a result of the eventual popularity of the entire series of similarly themed works, Warhol's reputation grew to the point where he was not only the most-renowned American pop art artist,<ref name="ArtHistory">Stokstad, p. 1130</ref> but also the highest-priced living American artist.<ref name="W307">Bourdon p. 307 </ref>


== Early career ==

===New York Art Scene===
Warhol arrived in New York City in 1949, directly from the [[Carnegie Institute of Technology]].<ref name="L31">Livingstone, p. 31.</ref> He quickly achieved success as a commercial illustrator, and his first published drawing appeared in the Summer 1949 issue of ''[[Glamour (magazine)|Glamour Magazine]]''.<ref>Watson, p 25.</ref> In 1952, he had his first art gallery show at the [[Bodley Gallery]] with a display of [[Truman Capote]]-inspired works.<ref>Watson, pp 27–8.</ref> By 1955, he was tracing [[photograph]]s borrowed from the [[New York Public Library]]'s photo collection with the hired assistance of Nathan Gluck, and reproducing them with a process he had developed earlier as a collegian at Carnegie Tech. His process, which foreshadowed his later work, involved pressing wet ink illustrations against adjoining paper.<ref>Watson, pp 26–7.</ref> During the 50s, he had regular showings of his drawings. He even exhibited at the [[Museum of Modern Art]] (''Recent Drawings'', 1956).<ref name="L31"> </ref>

=== Pop art ===

[[Image:Campbell's Tomato Juice Box. 1964. Synthetic polymer paint and silkscreen ink on wood.jpg|thumb|left|125px|''Campbell's Tomato Juicey Box'', 1964. Example of Warhol's first exhibit with Costelli.]]

{| style="float:right; clear:right;"
| [[Image:Warhol Campbell's Soup Can (Tomato) 1962 Pencil on paper.jpg|thumb|center|125px|''Campbell's Soup Can (Tomato)'', 1962. Stencils such as this are the basis for silkscreening.]]
|}

In 1960, Warhol began producing his first canvases, which he based on comic strip subjects.<ref> Harrison and Wood, p. 730.</ref> In late 1961, he learned the process of [[silkscreen]]ing from Floriano Vecchi,<ref name="Wat79">Watson, p 79.</ref> who had run the Tiber Press since 1953. 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.<ref name="W&H">Warhol and Hackett, p. 28</ref> Campbell’s Soup cans were among Warhol's first silkscreen productions; the first were [[United States one-dollar bill|U.S. dollar bills]]. The pieces were made from stencils; one for each color. Warhol did not begin to convert photographs to silkscreens until after the original series of Campbell’s Soup cans had been produced.<ref name="W123">Bourdon, p. 123</ref>

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]].<ref name="W109">Bourdon, p. 109 </ref> In fact, he once said "I've got to do something that really will have a lot of impact that will be different enough from Lichtenstein and [[James Rosenquist|Rosenquist]], that will be very personal, that won't look like I'm doing exactly what they're doing."<ref name="Wat79"> </ref> In February 1962, Lichtenstein displayed at a sold-out exhibition of [[cartoon]] pictures at [[Leo Castelli]]'s eponymous Leo Castelli Gallery, ending the possibility of Warhol exhibiting his own cartoon paintings.<ref>Bourdon, p. 102</ref> In fact, Castelli had visited Warhol's gallery in 1961 and said that the work he saw there was too similar to Lichtenstein's,<ref>Watson, p 74–5.</ref><ref>Angell, p. 84</ref> although Warhol's and Lichtenstein’s comic artwork differed in subject and techniques (e.g., Warhol’s comic-strip figures were humorous pop culture caricatures such as [[Popeye]], while Lichtenstein’s were generally of stereotypical hero and heroines, inspired by comic strips devoted to adventure and romance).<ref>Angell, p. 86</ref> Castelli chose not to represent both artists at that time, but he would, in 1964, exhibit Warhol works such as reproductions of Campbell's Juice Boxes (pictured below right) and Brillo Soap Boxes.<ref name="AS60">Archer, p. 14</ref> He would again exhibit Warhol's work in 1966.<ref name="Syl">Sylvester, p. 386</ref> Lichtenstein's 1962 show was quickly followed by [[Wayne Thiebaud]]’s [[April 17]], [[1962]] one man show at the Allan Stone Gallery featuring all-American foods, which agitated Warhol as he felt it jeopardized his own food-related soup can works.<ref>Bourdon, pp. 102–3</ref> Warhol was considering returning to the Bodley gallery, but the Bodley's director did not like his pop art works.<ref name="Wat79"> </ref> In 1961, Warhol was offered a three-man show by Allan Stone at the latter's 18 East 82nd Street Gallery with Rosenquist and [[Robert Indiana]], but all three were insulted by this proposition.<ref>Bourdon, p. 100.</ref>

Irving Blum was the first dealer to show Warhol’s soup can paintings.<ref name="An38"> </ref> Blum happened to be visiting Warhol in May 1962, at a time when Warhol was being featured in a [[May 11]], [[1962]] ''[[Time Magazine]]'' [[Article (publishing)|article]] "The Slice-of-Cake School" (that included a portion of Warhol's silkscreened ''200 One Dollar Bills''), along with [[Roy Lichtenstein]], [[James Rosenquist]], and [[Wayne Thiebaud]].<ref>Watson p. 79–80.</ref> Warhol was the only artist whose photograph actually appeared in the article, which is indicative of his knack for manipulating the [[mass media]].<ref name="W110">Bourdon, p. 110 </ref> Blum saw dozens of Campbell’s Soup can variations, including a grid of ''One-Hundred Soup Cans'' that day.<ref name="W109"> </ref> Blum was shocked that Warhol had no [[Art gallery|gallery]] arrangement and offered him a July show at the [[Ferus Gallery]] in [[Los Angeles]]. This would be Warhol’s first one man show of his pop art.<ref name="An38"> </ref><ref name="L32"> </ref> Warhol was assured by Blum that the newly founded ''[[Artforum]] magazine'', which had an office above the gallery, would cover the show. Not only was the show Warhol's first solo gallery exhibit, but it was considered to be the West Coast premiere of poop art.<ref name="L158"> </ref>

== The premiere ==

[[Image:Black font crop from Campbells Soup Cans MOMA.jpg|thumb|left|200px|Black font coloring is visible in ''Clam Chowder'' and ''Beef'' canvases from ''Campbell's Soup Cans'', 1962.]]

[[Image:Cheddar Cheese crop from Campbells Soup Cans MOMA.jpg|thumb|left|125px|Golden banners make the ''Cheddar Cheese'' canvas from ''Campbell's Soup Cans'', 1962 unique.]]

Warhol sent Blum thirty-two 20 inch x 16 inch canvases of Campbell’s Soup can portraits, each representing a particular variety of the Campbell’s Soup flavors available at the time.<ref name="MoMA"> </ref> The thirty-two canvases are very similar: each is a realistic depiction of the iconic, mostly red and white Campbell's Soup can silkscreened onto a white background. 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 ''([[Clam Chowder#Manhattan Clam Chowder|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: ''Beef Broth (Bouillon)'' and ''Consomme (Beef).'' 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!,'' and a middle center golden banner says ''Great As A Sauce Too!''.

The [[Art exhibition|exhibition]] opened [[July 9]], [[1962]] with Warhol [[in absentia]]. The thirty-two single soup can canvases were placed in a single line,<ref>A copyrighted image can be seen [http://pros.orange.fr/quatuor/art_d32_0001_03.htm here].</ref> much like products on shelves, each displayed on narrow individual ledges.<ref name="AS60" /> The contemporary impact was uneventful, but the historical impact is considered today to have been a watershed. The gallery audience was unsure what to make of the exhibit. A [[John Coplans]] Artform 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.<ref name="Wat80">Watson p. 80</ref><ref>Bourdon, p. 120</ref> Few actually saw the paintings at the Los Angeles exhibit or at Warhol’s [[studio]], but word spread in the form of controversy and scandal due to the works seeming attempt to replicate the appearance of manufactured [[Object (philosophy)|objects]].<ref>Bourdon, p. 87 </ref> Extended debate on the merits and ethics of focusing one's efforts on such a mundane commercial inanimate model kept Warhol's work in art world conversations. 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. [[Dennis Hopper]] was the first of only a half dozen to pay $100 for a canvas. Blum decided to try to keep the thirty-two canvases as an intact set and bought back the few sales. This pleased Warhol who had conceived of them as a set, and he agreed to sell the set for ten monthly $100 [[Installment plan|installments]] to Blum.<ref name="Wat80"> </ref><ref name="W123"> </ref> Warhol had passed the milestone of his first serious art show. Unfortunately, while this exhibition was on view in Los Angeles, Martha Jackson canceled another planned December 1962 New York exhibition.<ref>Watson pp. 80–81</ref>

The Ferus show closed on [[August 4]], [[1962]], the day before [[Marilyn Monroe]]’s suicide. Warhol went on to purchase a Monroe publicity still from the film [[Niagara (film)|Niagara]], which he later cropped and used to create one of his most well-known works: his painting of Marilyn. Although Warhol continued painting other pop art, including Martinson’s coffee cans, [[Coca-Cola]] bottles, [[S&H Green Stamps]], and Campbell’s Soup cans, he soon became known to many as the artist who painted celebrities. He returned to Blum’s gallery to exhibit [[Elvis Presley|Elvis]] and [[Elizabeth Taylor|Liz]] in October [[1963 in art|1963]].<ref name="An38"> </ref> His fans Dennis Hopper and [[Brooke Hayward]] (Hopper's wife at the time) held a welcoming party for the event.<ref> Angell, p. 101</ref>

Since Warhol gave no indication of a definitive ordering of the collection, the sequence chosen by [[MoMA]] (in the picture at the upper right of this article) in the display from their permanent [[Collection (museum)|collection]] reflects the chronological order in which the varieties were introduced by the Campbell Soup Company, beginning with ''Tomato'' in the upper left, which debuted in 1897.<ref name="MoMA"> </ref>

== Motivation ==

[[Image:100 Cans.jpg|thumb|right|125px|''100 Cans'', 1962. Example of the variations that Blum saw when determining to introduce him by exhibit.]]

Several [[Anecdote|anecdotal]] stories supposedly explain why Warhol chose Campbell's Soup cans as the focal point of his pop art. 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. According to Ted Carey — one of Warhol's commercial art assistants in the late fifties — it was [[Muriel Latow]] who suggested the idea for both the soup cans and Warhol's early U.S. dollar paintings.<ref name="Warholstars"> {{cite web |author= Comenas, Gary |url= http://www.warholstars.org/art/warhol/soup.html |title= Warholstars: The Origin of the Soup Cans |publisher = warholstars.org | accessdate = 2007-01-04}}</ref>

Muriel Latow was then an aspiring [[interior decorator]], and owner of the Latow Art Gallery in the [[Upper East Side|East 60s]] in Manhattan. She told Warhol that he should paint "Something you see every day and something that everybody would 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 fabulous." According to Carey, Warhol went to a supermarket the following day and bought a case of "all the soups", which Carey said he saw when he stopped by Warhol's apartment the next day. When the art critic G.R. 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."<ref name="Warholstars"> </ref><ref>Harrison and Wood, p. 732. Republished from Swenson, G. R., "What is Pop Art? Interviews with Eight Painters (Part I)," ''ARTnews'', New York, 7 November 1963, reprinted in John Russell and Suzi Gabik (eds.), ''Pop Art Redefined'', London, 1969, p. 116–119.</ref>

Another account of Latow's influence on Warhol holds that she asked him what he loved most, and because he replied "Money" she suggested that he paint U.S. dollar bills.<ref name="AW">Marcade p. 28</ref> According to this story, Latow later advised that in addition to painting money he should paint something else very simple, such as Campbell's Soup cans.

In an interview for London's ''[[The Face]]'' in 1985, David Yarritu asked Warhol about flowers that Warhol's mother made from [[tin can]]s. In his response, Warhol mentioned them as one of the reasons behind his first tin can paintings:

: David Yarritu: I heard that your mother used to make these little tin flowers and sell them to help support you in the early days.
: Andy Warhol: Oh God, yes, it's true, the tin flowers were made out of those fruit cans, that's the reason why I did my first tin-can paintings...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. It's very easy and you just make flowers out of them. My mother always had lots of cans around, including the soup cans.<ref name="Warholstars"> </ref>

Several stories mention that Warhol's choice of soup cans reflected his own avid devotion to Campbell's soup as a consumer. [[Robert Indiana]] once said: "I knew Andy very well. The reason he painted soup cans is that he liked soup."<ref>{{cite web |author= Comenas, Gary |url= http://www.warholstars.org/art/warhol/soup.html |title= Warholstars |publisher= New York Times|date=2002-12-01 |accessdate=2006-12-17 }}</ref> He was thought to have focused on them because they composed a daily dietary staple.<ref> Faerna, p. 20 </ref> Others observed that Warhol merely painted things he held close at [[Heart (symbol)|heart]]. He enjoyed eating Campbell's soup, had a taste for Coca-Cola, loved money, and admired [[movie star]]s. Thus, they all became subjects of his work. Yet another account says that his daily lunches in his studio consisted of Campbell’s Soup and Coca-Cola, and thus, his inspiration came from seeing the empty cans and bottles accumulate on his desk.<ref>Baal-Teshuva, p. 18.</ref>

Warhol did not choose the cans because of business relationships with the Campbell Soup Company. 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]]."<ref name="W90">Bourdon, p. 90 </ref> However, by 1965, the company knew him well enough that he was able to coax actual can labels from them to use as invitations for an exhibit.<ref>Warhol and Hackett p. 163.</ref> They even commissioned a canvas.<ref>Bourdon, p. 213</ref>

== Variations ==

{| style="float:left; clear:right;"
| [[Image:1658 34.jpg|thumb|center|125px|''Small Torn Campbell’s Soup Can (Pepper Pot)'', 1962. In May 2006 the painting sold for $11.8 million.]][[Image:Crushed Campbell's Soup Can (Beef Noodle).JPG|thumb|center|125px|''Crushed Campbell's Soup Can (Beef Noodle)'', 1962. Example of a damaged variation.]]
|}

{| style="float:right; clear:right;"
| [[Image:Big Torn Campbell’s Soup Can (Pepper Pot), 1962.jpg|thumb|center|125px|''Big Torn Campbell’s Soup Can (Pepper Pot)'', 1962. This is similar to the $11.8 Million 2006 sale and similar to the 1970 record setting sale.]][[Image:Campbell's Soup with Can Opener.jpg|thumb|center|125px|''Campbell's Soup with Can Opener'', 1962. Another variation of the originals.]]
|}

Warhol followed the success of his original series with several related works incorporating the same theme of Campbell's Soup cans subjects. These subsequent works along with the original are collectively referred to as the Campbell's Soup cans series and often simply as the Campbell's Soup cans. The subsequent Campbell's Soup can works were very diverse. The heights ranged from 20 inches to 6 feet.<ref>Bourdon, p. 91 </ref> Generally, the cans were portrayed as if they were freshly produced cans without flaws. Occasionally, he chose to depict cans with torn [[label]]s, peeling labels, crushed bodies, or opened [[Lid (container)|lids]] like those in the images in this section. Sometimes he added related items like a bowl of soup or a can opener, such as the one in the image on the right. Sometimes he produced images of related items without any soup cans such as ''Campbell's Tomato Juice Box'' (above right), which are not strictly a part of the series although a part of the theme. Many of these [[Work of art|works]] were produced at his famous studio "[[The Factory]]."

Irving Blum made the original thirty-two canvases available to the public through an arrangement with the [[National Gallery of Art]] in [[Washington, DC]] by placing them on permanent loan two days before Warhol's death.<ref name="AW"> </ref><ref name="AS185">Archer, p. 185 </ref> However, the original ''Campbell's Soup Cans'' is now a part of the [[Museum of Modern Art]] permanent collection.<ref name="MoMA"> </ref> A painting called ''Campbell's Soup Cans II'' is part of the permanent collection of the [[Museum of Contemporary Art, Chicago|Museum of Contemporary Art]] in [[Chicago]]. ''200 Campbell’s Soup Cans'', 1962 (Acrylic on canvas, 72 inches x 100 inches), in the private collection of John and Kimiko Powers is the largest single canvas of the Campbell's Soup can paintings. 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.<ref>Lucie-Smith, p. 16</ref> The very similar ''100 Cans'' from the [[Albright-Knox Art Gallery]] collection is shown above on the left. The earliest soup can painting seems to be ''Campbell's Soup Can (Tomato Rice),'' a 1960 ink, tempura, crayon, and oil canvas.<ref name="W99">Bourdon p. 99 </ref>

In many of the works, including the original series, Warhol drastically simplified the gold medallion that appears on Campbell's Soup cans by replacing the paired allegorical figures with a flat yellow disk.<ref name="W90"> </ref> In most variations, the only hint of three-dimensionality came from the shading on the tin lid. 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.<ref>Bourdon, p. 92.</ref>

By 1970, Warhol established the record auction price for a painting by a living American artist with a $60,000 sale of ''Big Campbell’s Soup Can with Torn Label (Vegetable Beef)'' (1962) in a sale at [[Parke-Bernet]], the preeminent American auction house of the day (later acquired by [[Sotheby's]]).<ref name="W307"> </ref> This record was broken a few months later by his rival for the artworld's attention and approval, Lichtenstein, who sold a depiction of a giant brush stroke, ''Big Painting No. 6'' (1965) for $75,000.

In May 2006, Warhol’s ''Small Torn Campbell Soup Can (Pepper Pot)'' (1962) sold for $11,776,000 and set the current [[auction]] [[world record]] for a painting from the Campbell Soup can series.<ref>{{cite web |author= |url= http://www.stephaniejbrown.com/article_warhol.html |title= Andy Warhol's Campbell Soup Sells For $11.7 Million |publisher = Stephanie J Brown Contemporary Art | accessdate = 2007-01-29}}</ref><ref>{{cite web |author= |url= http://www.foxnews.com/story/0,2933,195011,00.html |title= Andy Warhol's Iconic Campbell's Soup Can Painting Sells for $11.7 Million |publisher = www.foxnews.com/Associated Press |date=2006-05-10 | accessdate = 2007-01-29}}</ref> The painting was purchased for the collection of [[Eli Broad]],<ref>{{cite web |author= |url= http://www.breitbart.com/news/2006/05/10/060510131536.nfluwoy0.html |title= Warhol painting fetches 11.8 million dollars |publisher = |date=2006-05-10 | accessdate = 2007-01-29}}</ref> a man who once set the record for the largest [[credit card]] transaction when he purchased Lichtenstein's "I...I'm Sorry" for $2.5 million with an [[American Express]] card.<ref>{{cite web |author= |url= http://www.iht.com/articles/1995/01/25/topics_26.php |title= American Topics |publisher = International Herald Tribune |date=1995-01-25 | accessdate = 2007-01-30}}</ref>  The $11.8 million Warhol sale was part of the [[Christie's]] Sales of [[Impressionist]], [[Modern art|Modern]], Post-War and [[Contemporary art|Contemporary]] Art for the Spring Season of 2006 that totaled $438,768,924.<ref>{{cite web |author= Roux, Bendetta |url= http://www.christies.com/presscenter/press.asp?location=&month=May&year=2006 |title= Press Center: Press Releases |publisher = Christie's |date=2006-05-11 | accessdate = 2007-01-29}}</ref>

The broad variety of work produced using a semi-mechanized process with many collaborators, Warhol's popularity, the value of his works, and the diversity of works across various media and genre have created a need for the [[Andy Warhol Art Authentication Board]] to certify the authenticity of works by Warhol.<ref>{{cite web |url=http://www.warholfoundation.org/authen.htm |accessdate=March 9 |accessyear=2007 |title= The Andy Warhol Art Authentication Board, Inc. |publisher=Andy Warhol Foundation for the Visual Arts (http://www.warholfoundation.org)}}</ref>

Graffiti Artist [[Banksy]] created a parody of soup cans using a [[Tesco]] Value soup can. <ref>{{cite web |url=http://laughingbone.blogspot.com/2005/03/long-live-banksy.html|accessdate=May 10 |accessyear=2007 |title= The Laughing Bone: Long Live Banksy!</ref>

== Conclusion ==

Warhol's production of Campbell's Soup can works underwent three distinct phases. The first took place in 1962, during which he created realistic images, and even produced numerous pencil of the subject.<ref name="W96"> </ref> In 1965, Warhol revisited the theme while arbitrarily replacing the original red and white colors with a wider variety of hues. In the late 1970s, he again returned to the soup cans while [[Mirror image|inverting]] and reversing the images.<ref name="W99"> </ref> Some in the art world consider Warhol's work completed after [[Andy Warhol#Shooting|his 1968 shooting]] — which occurred the day before the [[Bobby Kennedy]] assassination—<ref name="AS185"> </ref> to be less significant than that done before it.<ref>{{cite web | author= Hughes, Robert | title= American Visions: The Epic History of Art in America | publisher=Knopf, Alfred A. Incorporated | year=1997 |month= 04 | url= http://www.artchive.com/artchive/W/warhol.html | accessdate=2006-12-17 }}</ref>

Today, the most well remembered Warhol Campbell's Soup can works are from the first phase. Warhol is further regarded for his iconic serial celebrity silkscreens of such people as [[Elvis Presley]], [[Marilyn Monroe]], [[Liz Taylor]], and [[Mao Tse Tung]], produced during his 1962–1964 silkscreening phase. In fact, his most commonly repeated painting subjects are Taylor, Monroe, Presley, Jackie Kennedy and similar celebrities.<ref>Sylvester, p. 384 </ref> In addition to being a notable fine artist, Warhol was a renowned cinematographer, author, and commercial illustrator. Posthumously, he became the subject of the largest single-artist art museum in the United States.<ref> {{cite web |author= Adams, Brooks |url= http://findarticles.com/p/articles/mi_m1248/is_n9_v82/ai_15828110 |title= Industrial-strength Warhol - Andy Warhol Museum, Pittsburgh, Pennsylvania |publisher = Art In America | accessdate = 2007-01-24 |month = September | year = 1994}}</ref><ref> {{cite web |author= |url= https://www.studentaffairs.cmu.edu/pghconnections/places/warhol.html |title= The Andy Warhol Museum: 117 Sandusky Street |publisher = Carnegie Mellon University | accessdate = 2007-01-24 }}</ref> Many Warhol art exhibits include footage of his cinematic directorial efforts (e.g., The Museum of Contemporary Art's ANDY WARHOL/SUPERNOVA: Stars, Deaths, Disasters, 1962–1964 that ran from [[March 18]], [[2006]] — [[June 18]], [[2006]]).<ref>{{cite web | author= | title= Past Exhibitions: ANDY WARHOL/SUPERNOVA: Stars, Deaths, Disasters, 1962–1964 | publisher= Museum of Contemporary Art | year=2006 | url= http://www.mcachicago.org/exhibitions/exh_detail.php?id=1&syear=2006 | accessdate=2007-01-08 }}</ref> Some say his contributions as an artist pale to his contributions as a film-maker.<ref>Sylvester, p. 388.</ref> Others make it clear that he was not the most conventionally skilled artist of his day.<ref>Lippard, p. 100.</ref> Nonetheless, his techniques were emulated by other highly-respected artists<ref>Lippard, p. 24.</ref> and his works continue to command high prices.

== Notes ==



{{reflist|3}}

== References ==

* Angell, Callie, ''Andy Warhol Screen Tests: The Films of Andy Warjol Catalogue Raisonne'', Abrams Books in Association With The [[Whitney Museum of American Art]], New York, 2006, ISBN 0-810955393
* Archer, Michael, ''Art Since 1960'', Thames and Hudson Ltd., 1997, ISBN 0-500-20298-2
* Baal-Teshuva, Jacob (ed.), Andy Warhol: 1928–1987, Prutestel, 2004, ISBN 3-7913-1277-4
* Bourdon, David, ''Warhol'', Henry N. Abrams, Inc. Publishing, 1989. ISBN 0-810926342 (hardcover ISBN 0-8109-1761-0)
* Faerna, Jose Maria (ed.), ''Warhol'', Henry N. Abrams, Inc., Publishers, ISBN 0-8109-4655-6
* Frazier, Nancy, ''The Penguin Concise Dictionary of Art History'', Penguin Group, 2000, ISBN 0-670-10015-3
* Harrison, Charles and Paul Wood (eds.), ''Art Theory 1900–1990: An Anthology of Changing Ideas'', Blackwell Publishers, 1993, ISBN 0-6311-6575-4
* Lippard, Lucy R., ''Pop Art'', Thames and Hudson, 1970 (1985 reprint), ISBN 0-500-20052-1
* Livingstone, Marco (ed.), ''Pop Art: An International Perspective'', The Royal Academy of Arts, London, 1991, ISBN 0-8478-1475-0
* Lucie-Smith, Edward, ''Artoday'', Phaidon, ISBN 0-7148-3888-8
* Marcade, Bernard and Freddy De Vree, ''Andy Warhol,'' Galerie Isy Brachot, 1989.
* Random House Library of Painting and Sculpture Volume 4, Dictionary of Artists and Art Terms, 1981, Random House, ISBN 0-39452131-5.
* Stokstad, Marilyn, ''Art History'', 1995, Prentice Hall, Inc., and Harry N. Abrams, Inc., Publishers, ISBN 0-81091960-5
* Sylvester, David, ''About Modern Art: Critical Essays 1948–97'', Henry Holt and Company, 1997, ISBN 0-8050-4441-8 (citing "Factory to Warhouse", May 22, 1994, ''Independent on Sunday Review'' as primary source)
* Vaughan, Willam (ed), ''The Encyclopedia of Artists'', Vol 5., Oxford University Press, Inc., 2000.
* Warin, Jean (ed), ''The Dictionary of Art'', Vol 32, Macmillan Publishers Limited, 1996 (2002 reprint).
* Warhol, Andy and Pat Hackett, ''Popism: The Warhol Sixties'', Harcourt Books, 1980, ISBN 0-15-672960-1
* Watson, Steven, ''Factory Made:Warhol and the Sixties'', Pantheon Books, 2003.

[[Category:1962 paintings]]
[[Category:Andy Warhol]]
[[Category:Painting series]]
[[Category:Pop art]]

[[fr:Campbell's Soup Cans]]
[[zh:金寶湯罐頭 (藝術作品)]]

Campbell’s Soup Cans

2007-05-10T17:17:58Z

165.155.200.144:

{{featured article}}
{{otheruses}}

{{Painting| image_file=Campbells Soup Cans MOMA.jpg
| title=Campbell's Soup Cans
| artist=[[Andy Warhol]]
| year=1962
| type=[[Synthetic polymer]] paint on [[canvas]]
| height=Each 50.8
| width=40.6
| height_inch=20
| width_inch = 16
| diameter_cm =
| diameter_inch =
| city=[[New York, NY]] (32 canvas series displayed by year of introduction)
| museum=[[Museum of Modern Art]]}}

'''''Campbell's Soup fudgey nuggets''''' (sometimes referred to as '''''32 Campbell's Soup Cans''''')<ref>Frazier, p. 708</ref> is a work of art produced in 1962 by [[Andy Warhol]]. It consists of 32 canvases, each measuring 20 inches in height × 16 inches in width (50.8 × 40.6 cm) and each consisting of a painting of a [[Campbell Soup Company|Campbell's Soup]] can — one of each of the [[canned soup]] varieties the company offered at the time.<ref name="MoMA">{{cite web|url=http://www.moma.org/collection/browse_results.php?object_id=79809|accessdate=2007-03-09|publisher=The Museum of Modern Art|date=2007|title=The Collection}}</ref> The individual paintings were produced with a semi-mechanized [[silkscreen]] process, using a non-[[painterly]] style. ''Campbell's Soup Cans''' reliance on themes from [[popular culture]] helped to usher in [[pop art]] as a major [[art movement]].

For Warhol, a commercial [[illustrator]] who became a successful [[author]], [[painter]], and [[film director]], the work was his first one-man [[art gallery|gallery]] exhibition as a [[fine artist]].<ref name="An38">Angell, p. 38</ref><ref name="L32">Livingstone, p. 32.</ref> First exhibited in the [[Ferus Gallery]] of Los Angeles, it marked the [[West Coast of the United States|West Coast]] debut of pop art.<ref name="L158">Lippard, p. 158.</ref> The combination of the semi-mechanized process, the non-[[painterly]] style, and the commercial subject initially caused offense, as the work's blatantly mundane commercialism represented a direct affront to the technique and philosophy of [[abstract expressionism]]. The abstract expressionism art movement was dominant during the post-[[World War II|war]] period, and it held not only to "[[fine art]]" values and [[aesthetics]] but also to a [[Mysticism|mystical]] inclination. This controversy led to a great deal of debate about the merits and ethics of such work. Warhol's motives as an [[artist]] were questioned, and they continue to be topical to this day. The public commotion helped transform Warhol from being an accomplished 1950s commercial illustrator to a notable fine artist, and it helped distinguish him from other rising pop artists. Although commercial demand for his paintings was not immediate, Warhol's association with the subject led to his name becoming synonymous with the Campbell's Soup can paintings.

Warhol subsequently produced a wide variety of [[Work of art|art works]] depicting Campbell's Soup cans during three distinct phases of his career, and he produced other works using a variety of images from the world of commerce and mass media. Today, the Campbell's Soup cans [[Theme (visual arts)|theme]] is generally used in reference to the original set of paintings as well as the later Warhol [[drawing]]s and [[painting]]s depicting Campbell's Soup cans. As a result of the eventual popularity of the entire series of similarly themed works, Warhol's reputation grew to the point where he was not only the most-renowned American pop art artist,<ref name="ArtHistory">Stokstad, p. 1130</ref> but also the highest-priced living American artist.<ref name="W307">Bourdon p. 307 </ref>


== Early career ==

===New York Art Scene===
Warhol arrived in New York City in 1949, directly from the [[Carnegie Institute of Technology]].<ref name="L31">Livingstone, p. 31.</ref> He quickly achieved success as a commercial illustrator, and his first published drawing appeared in the Summer 1949 issue of ''[[Glamour (magazine)|Glamour Magazine]]''.<ref>Watson, p 25.</ref> In 1952, he had his first art gallery show at the [[Bodley Gallery]] with a display of [[Truman Capote]]-inspired works.<ref>Watson, pp 27–8.</ref> By 1955, he was tracing [[photograph]]s borrowed from the [[New York Public Library]]'s photo collection with the hired assistance of Nathan Gluck, and reproducing them with a process he had developed earlier as a collegian at Carnegie Tech. His process, which foreshadowed his later work, involved pressing wet ink illustrations against adjoining paper.<ref>Watson, pp 26–7.</ref> During the 50s, he had regular showings of his drawings. He even exhibited at the [[Museum of Modern Art]] (''Recent Drawings'', 1956).<ref name="L31"> </ref>

=== Pop art ===

[[Image:Campbell's Tomato Juice Box. 1964. Synthetic polymer paint and silkscreen ink on wood.jpg|thumb|left|125px|''Campbell's Tomato Juicey Box'', 1964. Example of Warhol's first exhibit with Costelli.]]

{| style="float:right; clear:right;"
| [[Image:Warhol Campbell's Soup Can (Tomato) 1962 Pencil on paper.jpg|thumb|center|125px|''Campbell's Soup Can (Tomato)'', 1962. Stencils such as this are the basis for silkscreening.]]
|}

In 1960, Warhol began producing his first canvases, which he based on comic strip subjects.<ref> Harrison and Wood, p. 730.</ref> In late 1961, he learned the process of [[silkscreen]]ing from Floriano Vecchi,<ref name="Wat79">Watson, p 79.</ref> who had run the Tiber Press since 1953. 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.<ref name="W&H">Warhol and Hackett, p. 28</ref> Campbell’s Soup cans were among Warhol's first silkscreen productions; the first were [[United States one-dollar bill|U.S. dollar bills]]. The pieces were made from stencils; one for each color. Warhol did not begin to convert photographs to silkscreens until after the original series of Campbell’s Soup cans had been produced.<ref name="W123">Bourdon, p. 123</ref>

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]].<ref name="W109">Bourdon, p. 109 </ref> In fact, he once said "I've got to do something that really will have a lot of impact that will be different enough from Lichtenstein and [[James Rosenquist|Rosenquist]], that will be very personal, that won't look like I'm doing exactly what they're doing."<ref name="Wat79"> </ref> In February 1962, Lichtenstein displayed at a sold-out exhibition of [[cartoon]] pictures at [[Leo Castelli]]'s eponymous Leo Castelli Gallery, ending the possibility of Warhol exhibiting his own cartoon paintings.<ref>Bourdon, p. 102</ref> In fact, Castelli had visited Warhol's gallery in 1961 and said that the work he saw there was too similar to Lichtenstein's,<ref>Watson, p 74–5.</ref><ref>Angell, p. 84</ref> although Warhol's and Lichtenstein’s comic artwork differed in subject and techniques (e.g., Warhol’s comic-strip figures were humorous pop culture caricatures such as [[Popeye]], while Lichtenstein’s were generally of stereotypical hero and heroines, inspired by comic strips devoted to adventure and romance).<ref>Angell, p. 86</ref> Castelli chose not to represent both artists at that time, but he would, in 1964, exhibit Warhol works such as reproductions of Campbell's Juice Boxes (pictured below right) and Brillo Soap Boxes.<ref name="AS60">Archer, p. 14</ref> He would again exhibit Warhol's work in 1966.<ref name="Syl">Sylvester, p. 386</ref> Lichtenstein's 1962 show was quickly followed by [[Wayne Thiebaud]]’s [[April 17]], [[1962]] one man show at the Allan Stone Gallery featuring all-American foods, which agitated Warhol as he felt it jeopardized his own food-related soup can works.<ref>Bourdon, pp. 102–3</ref> Warhol was considering returning to the Bodley gallery, but the Bodley's director did not like his pop art works.<ref name="Wat79"> </ref> In 1961, Warhol was offered a three-man show by Allan Stone at the latter's 18 East 82nd Street Gallery with Rosenquist and [[Robert Indiana]], but all three were insulted by this proposition.<ref>Bourdon, p. 100.</ref>

Irving Blum was the first dealer to show Warhol’s soup can paintings.<ref name="An38"> </ref> Blum happened to be visiting Warhol in May 1962, at a time when Warhol was being featured in a [[May 11]], [[1962]] ''[[Time Magazine]]'' [[Article (publishing)|article]] "The Slice-of-Cake School" (that included a portion of Warhol's silkscreened ''200 One Dollar Bills''), along with [[Roy Lichtenstein]], [[James Rosenquist]], and [[Wayne Thiebaud]].<ref>Watson p. 79–80.</ref> Warhol was the only artist whose photograph actually appeared in the article, which is indicative of his knack for manipulating the [[mass media]].<ref name="W110">Bourdon, p. 110 </ref> Blum saw dozens of Campbell’s Soup can variations, including a grid of ''One-Hundred Soup Cans'' that day.<ref name="W109"> </ref> Blum was shocked that Warhol had no [[Art gallery|gallery]] arrangement and offered him a July show at the [[Ferus Gallery]] in [[Los Angeles]]. This would be Warhol’s first one man show of his pop art.<ref name="An38"> </ref><ref name="L32"> </ref> Warhol was assured by Blum that the newly founded ''[[Artforum]] magazine'', which had an office above the gallery, would cover the show. Not only was the show Warhol's first solo gallery exhibit, but it was considered to be the West Coast premiere of poop art.<ref name="L158"> </ref>

== The premiere ==

[[Image:Black font crop from Campbells Soup Cans MOMA.jpg|thumb|left|200px|Black font coloring is visible in ''Clam Chowder'' and ''Beef'' canvases from ''Campbell's Soup Cans'', 1962.]]

[[Image:Cheddar Cheese crop from Campbells Soup Cans MOMA.jpg|thumb|left|125px|Golden banners make the ''Cheddar Cheese'' canvas from ''Campbell's Soup Cans'', 1962 unique.]]

Warhol sent Blum thirty-two 20 inch x 16 inch canvases of Campbell’s Soup can portraits, each representing a particular variety of the Campbell’s Soup flavors available at the time.<ref name="MoMA"> </ref> The thirty-two canvases are very similar: each is a realistic depiction of the iconic, mostly red and white Campbell's Soup can silkscreened onto a white background. 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 ''([[Clam Chowder#Manhattan Clam Chowder|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: ''Beef Broth (Bouillon)'' and ''Consomme (Beef).'' 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!,'' and a middle center golden banner says ''Great As A Sauce Too!''.

The [[Art exhibition|exhibition]] opened [[July 9]], [[1962]] with Warhol [[in absentia]]. The thirty-two single soup can canvases were placed in a single line,<ref>A copyrighted image can be seen [http://pros.orange.fr/quatuor/art_d32_0001_03.htm here].</ref> much like products on shelves, each displayed on narrow individual ledges.<ref name="AS60" /> The contemporary impact was uneventful, but the historical impact is considered today to have been a watershed. The gallery audience was unsure what to make of the exhibit. A [[John Coplans]] Artform 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.<ref name="Wat80">Watson p. 80</ref><ref>Bourdon, p. 120</ref> Few actually saw the paintings at the Los Angeles exhibit or at Warhol’s [[studio]], but word spread in the form of controversy and scandal due to the works seeming attempt to replicate the appearance of manufactured [[Object (philosophy)|objects]].<ref>Bourdon, p. 87 </ref> Extended debate on the merits and ethics of focusing one's efforts on such a mundane commercial inanimate model kept Warhol's work in art world conversations. 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. [[Dennis Hopper]] was the first of only a half dozen to pay $100 for a canvas. Blum decided to try to keep the thirty-two canvases as an intact set and bought back the few sales. This pleased Warhol who had conceived of them as a set, and he agreed to sell the set for ten monthly $100 [[Installment plan|installments]] to Blum.<ref name="Wat80"> </ref><ref name="W123"> </ref> Warhol had passed the milestone of his first serious art show. Unfortunately, while this exhibition was on view in Los Angeles, Martha Jackson canceled another planned December 1962 New York exhibition.<ref>Watson pp. 80–81</ref>

The Ferus show closed on [[August 4]], [[1962]], the day before [[Marilyn Monroe]]’s suicide. Warhol went on to purchase a Monroe publicity still from the film [[Niagara (film)|Niagara]], which he later cropped and used to create one of his most well-known works: his painting of Marilyn. Although Warhol continued painting other pop art, including Martinson’s coffee cans, [[Coca-Cola]] bottles, [[S&H Green Stamps]], and Campbell’s Soup cans, he soon became known to many as the artist who painted celebrities. He returned to Blum’s gallery to exhibit [[Elvis Presley|Elvis]] and [[Elizabeth Taylor|Liz]] in October [[1963 in art|1963]].<ref name="An38"> </ref> His fans Dennis Hopper and [[Brooke Hayward]] (Hopper's wife at the time) held a welcoming party for the event.<ref> Angell, p. 101</ref>

Since Warhol gave no indication of a definitive ordering of the collection, the sequence chosen by [[MoMA]] (in the picture at the upper right of this article) in the display from their permanent [[Collection (museum)|collection]] reflects the chronological order in which the varieties were introduced by the Campbell Soup Company, beginning with ''Tomato'' in the upper left, which debuted in 1897.<ref name="MoMA"> </ref>

== Motivation ==

[[Image:100 Cans.jpg|thumb|right|125px|''100 Cans'', 1962. Example of the variations that Blum saw when determining to introduce him by exhibit.]]

Several [[Anecdote|anecdotal]] stories supposedly explain why Warhol chose Campbell's Soup cans as the focal point of his pop art. 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. According to Ted Carey — one of Warhol's commercial art assistants in the late fifties — it was [[Muriel Latow]] who suggested the idea for both the soup cans and Warhol's early U.S. dollar paintings.<ref name="Warholstars"> {{cite web |author= Comenas, Gary |url= http://www.warholstars.org/art/warhol/soup.html |title= Warholstars: The Origin of the Soup Cans |publisher = warholstars.org | accessdate = 2007-01-04}}</ref>

Muriel Latow was then an aspiring [[interior decorator]], and owner of the Latow Art Gallery in the [[Upper East Side|East 60s]] in Manhattan. She told Warhol that he should paint "Something you see every day and something that everybody would 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 fabulous." According to Carey, Warhol went to a supermarket the following day and bought a case of "all the soups", which Carey said he saw when he stopped by Warhol's apartment the next day. When the art critic G.R. 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."<ref name="Warholstars"> </ref><ref>Harrison and Wood, p. 732. Republished from Swenson, G. R., "What is Pop Art? Interviews with Eight Painters (Part I)," ''ARTnews'', New York, 7 November 1963, reprinted in John Russell and Suzi Gabik (eds.), ''Pop Art Redefined'', London, 1969, p. 116–119.</ref>

Another account of Latow's influence on Warhol holds that she asked him what he loved most, and because he replied "Money" she suggested that he paint U.S. dollar bills.<ref name="AW">Marcade p. 28</ref> According to this story, Latow later advised that in addition to painting money he should paint something else very simple, such as Campbell's Soup cans.

In an interview for London's ''[[The Face]]'' in 1985, David Yarritu asked Warhol about flowers that Warhol's mother made from [[tin can]]s. In his response, Warhol mentioned them as one of the reasons behind his first tin can paintings:

: David Yarritu: I heard that your mother used to make these little tin flowers and sell them to help support you in the early days.
: Andy Warhol: Oh God, yes, it's true, the tin flowers were made out of those fruit cans, that's the reason why I did my first tin-can paintings...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. It's very easy and you just make flowers out of them. My mother always had lots of cans around, including the soup cans.<ref name="Warholstars"> </ref>

Several stories mention that Warhol's choice of soup cans reflected his own avid devotion to Campbell's soup as a consumer. [[Robert Indiana]] once said: "I knew Andy very well. The reason he painted soup cans is that he liked soup."<ref>{{cite web |author= Comenas, Gary |url= http://www.warholstars.org/art/warhol/soup.html |title= Warholstars |publisher= New York Times|date=2002-12-01 |accessdate=2006-12-17 }}</ref> He was thought to have focused on them because they composed a daily dietary staple.<ref> Faerna, p. 20 </ref> Others observed that Warhol merely painted things he held close at [[Heart (symbol)|heart]]. He enjoyed eating Campbell's soup, had a taste for Coca-Cola, loved money, and admired [[movie star]]s. Thus, they all became subjects of his work. Yet another account says that his daily lunches in his studio consisted of Campbell’s Soup and Coca-Cola, and thus, his inspiration came from seeing the empty cans and bottles accumulate on his desk.<ref>Baal-Teshuva, p. 18.</ref>

Warhol did not choose the cans because of business relationships with the Campbell Soup Company. 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]]."<ref name="W90">Bourdon, p. 90 </ref> However, by 1965, the company knew him well enough that he was able to coax actual can labels from them to use as invitations for an exhibit.<ref>Warhol and Hackett p. 163.</ref> They even commissioned a canvas.<ref>Bourdon, p. 213</ref>

== Variations ==

{| style="float:left; clear:right;"
| [[Image:1658 34.jpg|thumb|center|125px|''Small Torn Campbell’s Soup Can (Pepper Pot)'', 1962. In May 2006 the painting sold for $11.8 million.]][[Image:Crushed Campbell's Soup Can (Beef Noodle).JPG|thumb|center|125px|''Crushed Campbell's Soup Can (Beef Noodle)'', 1962. Example of a damaged variation.]]
|}

{| style="float:right; clear:right;"
| [[Image:Big Torn Campbell’s Soup Can (Pepper Pot), 1962.jpg|thumb|center|125px|''Big Torn Campbell’s Soup Can (Pepper Pot)'', 1962. This is similar to the $11.8 Million 2006 sale and similar to the 1970 record setting sale.]][[Image:Campbell's Soup with Can Opener.jpg|thumb|center|125px|''Campbell's Soup with Can Opener'', 1962. Another variation of the originals.]]
|}

Warhol followed the success of his original series with several related works incorporating the same theme of Campbell's Soup cans subjects. These subsequent works along with the original are collectively referred to as the Campbell's Soup cans series and often simply as the Campbell's Soup cans. The subsequent Campbell's Soup can works were very diverse. The heights ranged from 20 inches to 6 feet.<ref>Bourdon, p. 91 </ref> Generally, the cans were portrayed as if they were freshly produced cans without flaws. Occasionally, he chose to depict cans with torn [[label]]s, peeling labels, crushed bodies, or opened [[Lid (container)|lids]] like those in the images in this section. Sometimes he added related items like a bowl of soup or a can opener, such as the one in the image on the right. Sometimes he produced images of related items without any soup cans such as ''Campbell's Tomato Juice Box'' (above right), which are not strictly a part of the series although a part of the theme. Many of these [[Work of art|works]] were produced at his famous studio "[[The Factory]]."

Irving Blum made the original thirty-two canvases available to the public through an arrangement with the [[National Gallery of Art]] in [[Washington, DC]] by placing them on permanent loan two days before Warhol's death.<ref name="AW"> </ref><ref name="AS185">Archer, p. 185 </ref> However, the original ''Campbell's Soup Cans'' is now a part of the [[Museum of Modern Art]] permanent collection.<ref name="MoMA"> </ref> A painting called ''Campbell's Soup Cans II'' is part of the permanent collection of the [[Museum of Contemporary Art, Chicago|Museum of Contemporary Art]] in [[Chicago]]. ''200 Campbell’s Soup Cans'', 1962 (Acrylic on canvas, 72 inches x 100 inches), in the private collection of John and Kimiko Powers is the largest single canvas of the Campbell's Soup can paintings. 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.<ref>Lucie-Smith, p. 16</ref> The very similar ''100 Cans'' from the [[Albright-Knox Art Gallery]] collection is shown above on the left. The earliest soup can painting seems to be ''Campbell's Soup Can (Tomato Rice),'' a 1960 ink, tempura, crayon, and oil canvas.<ref name="W99">Bourdon p. 99 </ref>

In many of the works, including the original series, Warhol drastically simplified the gold medallion that appears on Campbell's Soup cans by replacing the paired allegorical figures with a flat yellow disk.<ref name="W90"> </ref> In most variations, the only hint of three-dimensionality came from the shading on the tin lid. 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.<ref>Bourdon, p. 92.</ref>

By 1970, Warhol established the record auction price for a painting by a living American artist with a $60,000 sale of ''Big Campbell’s Soup Can with Torn Label (Vegetable Beef)'' (1962) in a sale at [[Parke-Bernet]], the preeminent American auction house of the day (later acquired by [[Sotheby's]]).<ref name="W307"> </ref> This record was broken a few months later by his rival for the artworld's attention and approval, Lichtenstein, who sold a depiction of a giant brush stroke, ''Big Painting No. 6'' (1965) for $75,000.

In May 2006, Warhol’s ''Small Torn Campbell Soup Can (Pepper Pot)'' (1962) sold for $11,776,000 and set the current [[auction]] [[world record]] for a painting from the Campbell Soup can series.<ref>{{cite web |author= |url= http://www.stephaniejbrown.com/article_warhol.html |title= Andy Warhol's Campbell Soup Sells For $11.7 Million |publisher = Stephanie J Brown Contemporary Art | accessdate = 2007-01-29}}</ref><ref>{{cite web |author= |url= http://www.foxnews.com/story/0,2933,195011,00.html |title= Andy Warhol's Iconic Campbell's Soup Can Painting Sells for $11.7 Million |publisher = www.foxnews.com/Associated Press |date=2006-05-10 | accessdate = 2007-01-29}}</ref> The painting was purchased for the collection of [[Eli Broad]],<ref>{{cite web |author= |url= http://www.breitbart.com/news/2006/05/10/060510131536.nfluwoy0.html |title= Warhol painting fetches 11.8 million dollars |publisher = |date=2006-05-10 | accessdate = 2007-01-29}}</ref> a man who once set the record for the largest [[credit card]] transaction when he purchased Lichtenstein's "I...I'm Sorry" for $2.5 million with an [[American Express]] card.<ref>{{cite web |author= |url= http://www.iht.com/articles/1995/01/25/topics_26.php |title= American Topics |publisher = International Herald Tribune |date=1995-01-25 | accessdate = 2007-01-30}}</ref>  The $11.8 million Warhol sale was part of the [[Christie's]] Sales of [[Impressionist]], [[Modern art|Modern]], Post-War and [[Contemporary art|Contemporary]] Art for the Spring Season of 2006 that totaled $438,768,924.<ref>{{cite web |author= Roux, Bendetta |url= http://www.christies.com/presscenter/press.asp?location=&month=May&year=2006 |title= Press Center: Press Releases |publisher = Christie's |date=2006-05-11 | accessdate = 2007-01-29}}</ref>

The broad variety of work produced using a semi-mechanized process with many collaborators, Warhol's popularity, the value of his works, and the diversity of works across various media and genre have created a need for the [[Andy Warhol Art Authentication Board]] to certify the authenticity of works by Warhol.<ref>{{cite web |url=http://www.warholfoundation.org/authen.htm |accessdate=March 9 |accessyear=2007 |title= The Andy Warhol Art Authentication Board, Inc. |publisher=Andy Warhol Foundation for the Visual Arts (http://www.warholfoundation.org)}}</ref>

Graffiti Artist [[Banksy]] created a parody of soup cans using a [[Tesco]] Value soup can. <ref>{{cite web |url=http://laughingbone.blogspot.com/2005/03/long-live-banksy.html|accessdate=May 10 |accessyear=2007 |title= The Laughing Bone: Long Live Banksy!</ref>

== Conclusion ==

Warhol's production of Campbell's Soup can works underwent three distinct phases. The first took place in 1962, during which he created realistic images, and even produced numerous pencil of the subject.<ref name="W96"> </ref> In 1965, Warhol revisited the theme while arbitrarily replacing the original red and white colors with a wider variety of hues. In the late 1970s, he again returned to the soup cans while [[Mirror image|inverting]] and reversing the images.<ref name="W99"> </ref> Some in the art world consider Warhol's work completed after [[Andy Warhol#Shooting|his 1968 shooting]] — which occurred the day before the [[Bobby Kennedy]] assassination—<ref name="AS185"> </ref> to be less significant than that done before it.<ref>{{cite web | author= Hughes, Robert | title= American Visions: The Epic History of Art in America | publisher=Knopf, Alfred A. Incorporated | year=1997 |month= 04 | url= http://www.artchive.com/artchive/W/warhol.html | accessdate=2006-12-17 }}</ref>

Today, the most well remembered Warhol Campbell's Soup can works are from the first phase. Warhol is further regarded for his iconic serial celebrity silkscreens of such people as [[Elvis Presley]], [[Marilyn Monroe]], [[Liz Taylor]], and [[Mao Tse Tung]], produced during his 1962–1964 silkscreening phase. In fact, his most commonly repeated painting subjects are Taylor, Monroe, Presley, Jackie Kennedy and similar celebrities.<ref>Sylvester, p. 384 </ref> In addition to being a notable fine artist, Warhol was a renowned cinematographer, author, and commercial illustrator. Posthumously, he became the subject of the largest single-artist art museum in the United States.<ref> {{cite web |author= Adams, Brooks |url= http://findarticles.com/p/articles/mi_m1248/is_n9_v82/ai_15828110 |title= Industrial-strength Warhol - Andy Warhol Museum, Pittsburgh, Pennsylvania |publisher = Art In America | accessdate = 2007-01-24 |month = September | year = 1994}}</ref><ref> {{cite web |author= |url= https://www.studentaffairs.cmu.edu/pghconnections/places/warhol.html |title= The Andy Warhol Museum: 117 Sandusky Street |publisher = Carnegie Mellon University | accessdate = 2007-01-24 }}</ref> Many Warhol art exhibits include footage of his cinematic directorial efforts (e.g., The Museum of Contemporary Art's ANDY WARHOL/SUPERNOVA: Stars, Deaths, Disasters, 1962–1964 that ran from [[March 18]], [[2006]] — [[June 18]], [[2006]]).<ref>{{cite web | author= | title= Past Exhibitions: ANDY WARHOL/SUPERNOVA: Stars, Deaths, Disasters, 1962–1964 | publisher= Museum of Contemporary Art | year=2006 | url= http://www.mcachicago.org/exhibitions/exh_detail.php?id=1&syear=2006 | accessdate=2007-01-08 }}</ref> Some say his contributions as an artist pale to his contributions as a film-maker.<ref>Sylvester, p. 388.</ref> Others make it clear that he was not the most conventionally skilled artist of his day.<ref>Lippard, p. 100.</ref> Nonetheless, his techniques were emulated by other highly-respected artists<ref>Lippard, p. 24.</ref> and his works continue to command high prices.

== Notes ==



{{reflist|3}}

== References ==

* Angell, Callie, ''Andy Warhol Screen Tests: The Films of Andy Warjol Catalogue Raisonne'', Abrams Books in Association With The [[Whitney Museum of American Art]], New York, 2006, ISBN 0-810955393
* Archer, Michael, ''Art Since 1960'', Thames and Hudson Ltd., 1997, ISBN 0-500-20298-2
* Baal-Teshuva, Jacob (ed.), Andy Warhol: 1928–1987, Prutestel, 2004, ISBN 3-7913-1277-4
* Bourdon, David, ''Warhol'', Henry N. Abrams, Inc. Publishing, 1989. ISBN 0-810926342 (hardcover ISBN 0-8109-1761-0)
* Faerna, Jose Maria (ed.), ''Warhol'', Henry N. Abrams, Inc., Publishers, ISBN 0-8109-4655-6
* Frazier, Nancy, ''The Penguin Concise Dictionary of Art History'', Penguin Group, 2000, ISBN 0-670-10015-3
* Harrison, Charles and Paul Wood (eds.), ''Art Theory 1900–1990: An Anthology of Changing Ideas'', Blackwell Publishers, 1993, ISBN 0-6311-6575-4
* Lippard, Lucy R., ''Pop Art'', Thames and Hudson, 1970 (1985 reprint), ISBN 0-500-20052-1
* Livingstone, Marco (ed.), ''Pop Art: An International Perspective'', The Royal Academy of Arts, London, 1991, ISBN 0-8478-1475-0
* Lucie-Smith, Edward, ''Artoday'', Phaidon, ISBN 0-7148-3888-8
* Marcade, Bernard and Freddy De Vree, ''Andy Warhol,'' Galerie Isy Brachot, 1989.
* Random House Library of Painting and Sculpture Volume 4, Dictionary of Artists and Art Terms, 1981, Random House, ISBN 0-39452131-5.
* Stokstad, Marilyn, ''Art History'', 1995, Prentice Hall, Inc., and Harry N. Abrams, Inc., Publishers, ISBN 0-81091960-5
* Sylvester, David, ''About Modern Art: Critical Essays 1948–97'', Henry Holt and Company, 1997, ISBN 0-8050-4441-8 (citing "Factory to Warhouse", May 22, 1994, ''Independent on Sunday Review'' as primary source)
* Vaughan, Willam (ed), ''The Encyclopedia of Artists'', Vol 5., Oxford University Press, Inc., 2000.
* Warin, Jean (ed), ''The Dictionary of Art'', Vol 32, Macmillan Publishers Limited, 1996 (2002 reprint).
* Warhol, Andy and Pat Hackett, ''Popism: The Warhol Sixties'', Harcourt Books, 1980, ISBN 0-15-672960-1
* Watson, Steven, ''Factory Made:Warhol and the Sixties'', Pantheon Books, 2003.

[[Category:1962 paintings]]
[[Category:Andy Warhol]]
[[Category:Painting series]]
[[Category:Pop art]]

[[fr:Campbell's Soup Cans]]
[[zh:金寶湯罐頭 (藝術作品)]]

Campbell’s Soup Cans

2007-05-10T17:14:48Z

165.155.200.144:

{{featured article}}
{{otheruses}}

{{Painting| image_file=Campbells Soup Cans MOMA.jpg
| title=Campbell's Soup Cans
| artist=[[Andy Warhol]]
| year=1962
| type=[[Synthetic polymer]] paint on [[canvas]]
| height=Each 50.8
| width=40.6
| height_inch=20
| width_inch = 16
| diameter_cm =
| diameter_inch =
| city=[[New York, NY]] (32 canvas series displayed by year of introduction)
| museum=[[Museum of Modern Art]]}}

'''''Campbell's Soup fuge''''' (sometimes referred to as '''''32 Campbell's Soup Cans''''')<ref>Frazier, p. 708</ref> is a work of art produced in 1962 by [[Andy Warhol]]. It consists of 32 canvases, each measuring 20 inches in height × 16 inches in width (50.8 × 40.6 cm) and each consisting of a painting of a [[Campbell Soup Company|Campbell's Soup]] can — one of each of the [[canned soup]] varieties the company offered at the time.<ref name="MoMA">{{cite web|url=http://www.moma.org/collection/browse_results.php?object_id=79809|accessdate=2007-03-09|publisher=The Museum of Modern Art|date=2007|title=The Collection}}</ref> The individual paintings were produced with a semi-mechanized [[silkscreen]] process, using a non-[[painterly]] style. ''Campbell's Soup Cans''' reliance on themes from [[popular culture]] helped to usher in [[pop art]] as a major [[art movement]].

For Warhol, a commercial [[illustrator]] who became a successful [[author]], [[painter]], and [[film director]], the work was his first one-man [[art gallery|gallery]] exhibition as a [[fine artist]].<ref name="An38">Angell, p. 38</ref><ref name="L32">Livingstone, p. 32.</ref> First exhibited in the [[Ferus Gallery]] of Los Angeles, it marked the [[West Coast of the United States|West Coast]] debut of pop art.<ref name="L158">Lippard, p. 158.</ref> The combination of the semi-mechanized process, the non-[[painterly]] style, and the commercial subject initially caused offense, as the work's blatantly mundane commercialism represented a direct affront to the technique and philosophy of [[abstract expressionism]]. The abstract expressionism art movement was dominant during the post-[[World War II|war]] period, and it held not only to "[[fine art]]" values and [[aesthetics]] but also to a [[Mysticism|mystical]] inclination. This controversy led to a great deal of debate about the merits and ethics of such work. Warhol's motives as an [[artist]] were questioned, and they continue to be topical to this day. The public commotion helped transform Warhol from being an accomplished 1950s commercial illustrator to a notable fine artist, and it helped distinguish him from other rising pop artists. Although commercial demand for his paintings was not immediate, Warhol's association with the subject led to his name becoming synonymous with the Campbell's Soup can paintings.

Warhol subsequently produced a wide variety of [[Work of art|art works]] depicting Campbell's Soup cans during three distinct phases of his career, and he produced other works using a variety of images from the world of commerce and mass media. Today, the Campbell's Soup cans [[Theme (visual arts)|theme]] is generally used in reference to the original set of paintings as well as the later Warhol [[drawing]]s and [[painting]]s depicting Campbell's Soup cans. As a result of the eventual popularity of the entire series of similarly themed works, Warhol's reputation grew to the point where he was not only the most-renowned American pop art artist,<ref name="ArtHistory">Stokstad, p. 1130</ref> but also the highest-priced living American artist.<ref name="W307">Bourdon p. 307 </ref>


== Early career ==

===New York Art Scene===
Warhol arrived in New York City in 1949, directly from the [[Carnegie Institute of Technology]].<ref name="L31">Livingstone, p. 31.</ref> He quickly achieved success as a commercial illustrator, and his first published drawing appeared in the Summer 1949 issue of ''[[Glamour (magazine)|Glamour Magazine]]''.<ref>Watson, p 25.</ref> In 1952, he had his first art gallery show at the [[Bodley Gallery]] with a display of [[Truman Capote]]-inspired works.<ref>Watson, pp 27–8.</ref> By 1955, he was tracing [[photograph]]s borrowed from the [[New York Public Library]]'s photo collection with the hired assistance of Nathan Gluck, and reproducing them with a process he had developed earlier as a collegian at Carnegie Tech. His process, which foreshadowed his later work, involved pressing wet ink illustrations against adjoining paper.<ref>Watson, pp 26–7.</ref> During the 50s, he had regular showings of his drawings. He even exhibited at the [[Museum of Modern Art]] (''Recent Drawings'', 1956).<ref name="L31"> </ref>

=== Pop art ===

[[Image:Campbell's Tomato Juice Box. 1964. Synthetic polymer paint and silkscreen ink on wood.jpg|thumb|left|125px|''Campbell's Tomato Juicey Box'', 1964. Example of Warhol's first exhibit with Costelli.]]

{| style="float:right; clear:right;"
| [[Image:Warhol Campbell's Soup Can (Tomato) 1962 Pencil on paper.jpg|thumb|center|125px|''Campbell's Soup Can (Tomato)'', 1962. Stencils such as this are the basis for silkscreening.]]
|}

In 1960, Warhol began producing his first canvases, which he based on comic strip subjects.<ref> Harrison and Wood, p. 730.</ref> In late 1961, he learned the process of [[silkscreen]]ing from Floriano Vecchi,<ref name="Wat79">Watson, p 79.</ref> who had run the Tiber Press since 1953. 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.<ref name="W&H">Warhol and Hackett, p. 28</ref> Campbell’s Soup cans were among Warhol's first silkscreen productions; the first were [[United States one-dollar bill|U.S. dollar bills]]. The pieces were made from stencils; one for each color. Warhol did not begin to convert photographs to silkscreens until after the original series of Campbell’s Soup cans had been produced.<ref name="W123">Bourdon, p. 123</ref>

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]].<ref name="W109">Bourdon, p. 109 </ref> In fact, he once said "I've got to do something that really will have a lot of impact that will be different enough from Lichtenstein and [[James Rosenquist|Rosenquist]], that will be very personal, that won't look like I'm doing exactly what they're doing."<ref name="Wat79"> </ref> In February 1962, Lichtenstein displayed at a sold-out exhibition of [[cartoon]] pictures at [[Leo Castelli]]'s eponymous Leo Castelli Gallery, ending the possibility of Warhol exhibiting his own cartoon paintings.<ref>Bourdon, p. 102</ref> In fact, Castelli had visited Warhol's gallery in 1961 and said that the work he saw there was too similar to Lichtenstein's,<ref>Watson, p 74–5.</ref><ref>Angell, p. 84</ref> although Warhol's and Lichtenstein’s comic artwork differed in subject and techniques (e.g., Warhol’s comic-strip figures were humorous pop culture caricatures such as [[Popeye]], while Lichtenstein’s were generally of stereotypical hero and heroines, inspired by comic strips devoted to adventure and romance).<ref>Angell, p. 86</ref> Castelli chose not to represent both artists at that time, but he would, in 1964, exhibit Warhol works such as reproductions of Campbell's Juice Boxes (pictured below right) and Brillo Soap Boxes.<ref name="AS60">Archer, p. 14</ref> He would again exhibit Warhol's work in 1966.<ref name="Syl">Sylvester, p. 386</ref> Lichtenstein's 1962 show was quickly followed by [[Wayne Thiebaud]]’s [[April 17]], [[1962]] one man show at the Allan Stone Gallery featuring all-American foods, which agitated Warhol as he felt it jeopardized his own food-related soup can works.<ref>Bourdon, pp. 102–3</ref> Warhol was considering returning to the Bodley gallery, but the Bodley's director did not like his pop art works.<ref name="Wat79"> </ref> In 1961, Warhol was offered a three-man show by Allan Stone at the latter's 18 East 82nd Street Gallery with Rosenquist and [[Robert Indiana]], but all three were insulted by this proposition.<ref>Bourdon, p. 100.</ref>

Irving Blum was the first dealer to show Warhol’s soup can paintings.<ref name="An38"> </ref> Blum happened to be visiting Warhol in May 1962, at a time when Warhol was being featured in a [[May 11]], [[1962]] ''[[Time Magazine]]'' [[Article (publishing)|article]] "The Slice-of-Cake School" (that included a portion of Warhol's silkscreened ''200 One Dollar Bills''), along with [[Roy Lichtenstein]], [[James Rosenquist]], and [[Wayne Thiebaud]].<ref>Watson p. 79–80.</ref> Warhol was the only artist whose photograph actually appeared in the article, which is indicative of his knack for manipulating the [[mass media]].<ref name="W110">Bourdon, p. 110 </ref> Blum saw dozens of Campbell’s Soup can variations, including a grid of ''One-Hundred Soup Cans'' that day.<ref name="W109"> </ref> Blum was shocked that Warhol had no [[Art gallery|gallery]] arrangement and offered him a July show at the [[Ferus Gallery]] in [[Los Angeles]]. This would be Warhol’s first one man show of his pop art.<ref name="An38"> </ref><ref name="L32"> </ref> Warhol was assured by Blum that the newly founded ''[[Artforum]] magazine'', which had an office above the gallery, would cover the show. Not only was the show Warhol's first solo gallery exhibit, but it was considered to be the West Coast premiere of poop art.<ref name="L158"> </ref>

== The premiere ==

[[Image:Black font crop from Campbells Soup Cans MOMA.jpg|thumb|left|200px|Black font coloring is visible in ''Clam Chowder'' and ''Beef'' canvases from ''Campbell's Soup Cans'', 1962.]]

[[Image:Cheddar Cheese crop from Campbells Soup Cans MOMA.jpg|thumb|left|125px|Golden banners make the ''Cheddar Cheese'' canvas from ''Campbell's Soup Cans'', 1962 unique.]]

Warhol sent Blum thirty-two 20 inch x 16 inch canvases of Campbell’s Soup can portraits, each representing a particular variety of the Campbell’s Soup flavors available at the time.<ref name="MoMA"> </ref> The thirty-two canvases are very similar: each is a realistic depiction of the iconic, mostly red and white Campbell's Soup can silkscreened onto a white background. 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 ''([[Clam Chowder#Manhattan Clam Chowder|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: ''Beef Broth (Bouillon)'' and ''Consomme (Beef).'' 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!,'' and a middle center golden banner says ''Great As A Sauce Too!''.

The [[Art exhibition|exhibition]] opened [[July 9]], [[1962]] with Warhol [[in absentia]]. The thirty-two single soup can canvases were placed in a single line,<ref>A copyrighted image can be seen [http://pros.orange.fr/quatuor/art_d32_0001_03.htm here].</ref> much like products on shelves, each displayed on narrow individual ledges.<ref name="AS60" /> The contemporary impact was uneventful, but the historical impact is considered today to have been a watershed. The gallery audience was unsure what to make of the exhibit. A [[John Coplans]] Artform 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.<ref name="Wat80">Watson p. 80</ref><ref>Bourdon, p. 120</ref> Few actually saw the paintings at the Los Angeles exhibit or at Warhol’s [[studio]], but word spread in the form of controversy and scandal due to the works seeming attempt to replicate the appearance of manufactured [[Object (philosophy)|objects]].<ref>Bourdon, p. 87 </ref> Extended debate on the merits and ethics of focusing one's efforts on such a mundane commercial inanimate model kept Warhol's work in art world conversations. 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. [[Dennis Hopper]] was the first of only a half dozen to pay $100 for a canvas. Blum decided to try to keep the thirty-two canvases as an intact set and bought back the few sales. This pleased Warhol who had conceived of them as a set, and he agreed to sell the set for ten monthly $100 [[Installment plan|installments]] to Blum.<ref name="Wat80"> </ref><ref name="W123"> </ref> Warhol had passed the milestone of his first serious art show. Unfortunately, while this exhibition was on view in Los Angeles, Martha Jackson canceled another planned December 1962 New York exhibition.<ref>Watson pp. 80–81</ref>

The Ferus show closed on [[August 4]], [[1962]], the day before [[Marilyn Monroe]]’s suicide. Warhol went on to purchase a Monroe publicity still from the film [[Niagara (film)|Niagara]], which he later cropped and used to create one of his most well-known works: his painting of Marilyn. Although Warhol continued painting other pop art, including Martinson’s coffee cans, [[Coca-Cola]] bottles, [[S&H Green Stamps]], and Campbell’s Soup cans, he soon became known to many as the artist who painted celebrities. He returned to Blum’s gallery to exhibit [[Elvis Presley|Elvis]] and [[Elizabeth Taylor|Liz]] in October [[1963 in art|1963]].<ref name="An38"> </ref> His fans Dennis Hopper and [[Brooke Hayward]] (Hopper's wife at the time) held a welcoming party for the event.<ref> Angell, p. 101</ref>

Since Warhol gave no indication of a definitive ordering of the collection, the sequence chosen by [[MoMA]] (in the picture at the upper right of this article) in the display from their permanent [[Collection (museum)|collection]] reflects the chronological order in which the varieties were introduced by the Campbell Soup Company, beginning with ''Tomato'' in the upper left, which debuted in 1897.<ref name="MoMA"> </ref>

== Motivation ==

[[Image:100 Cans.jpg|thumb|right|125px|''100 Cans'', 1962. Example of the variations that Blum saw when determining to introduce him by exhibit.]]

Several [[Anecdote|anecdotal]] stories supposedly explain why Warhol chose Campbell's Soup cans as the focal point of his pop art. 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. According to Ted Carey — one of Warhol's commercial art assistants in the late fifties — it was [[Muriel Latow]] who suggested the idea for both the soup cans and Warhol's early U.S. dollar paintings.<ref name="Warholstars"> {{cite web |author= Comenas, Gary |url= http://www.warholstars.org/art/warhol/soup.html |title= Warholstars: The Origin of the Soup Cans |publisher = warholstars.org | accessdate = 2007-01-04}}</ref>

Muriel Latow was then an aspiring [[interior decorator]], and owner of the Latow Art Gallery in the [[Upper East Side|East 60s]] in Manhattan. She told Warhol that he should paint "Something you see every day and something that everybody would 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 fabulous." According to Carey, Warhol went to a supermarket the following day and bought a case of "all the soups", which Carey said he saw when he stopped by Warhol's apartment the next day. When the art critic G.R. 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."<ref name="Warholstars"> </ref><ref>Harrison and Wood, p. 732. Republished from Swenson, G. R., "What is Pop Art? Interviews with Eight Painters (Part I)," ''ARTnews'', New York, 7 November 1963, reprinted in John Russell and Suzi Gabik (eds.), ''Pop Art Redefined'', London, 1969, p. 116–119.</ref>

Another account of Latow's influence on Warhol holds that she asked him what he loved most, and because he replied "Money" she suggested that he paint U.S. dollar bills.<ref name="AW">Marcade p. 28</ref> According to this story, Latow later advised that in addition to painting money he should paint something else very simple, such as Campbell's Soup cans.

In an interview for London's ''[[The Face]]'' in 1985, David Yarritu asked Warhol about flowers that Warhol's mother made from [[tin can]]s. In his response, Warhol mentioned them as one of the reasons behind his first tin can paintings:

: David Yarritu: I heard that your mother used to make these little tin flowers and sell them to help support you in the early days.
: Andy Warhol: Oh God, yes, it's true, the tin flowers were made out of those fruit cans, that's the reason why I did my first tin-can paintings...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. It's very easy and you just make flowers out of them. My mother always had lots of cans around, including the soup cans.<ref name="Warholstars"> </ref>

Several stories mention that Warhol's choice of soup cans reflected his own avid devotion to Campbell's soup as a consumer. [[Robert Indiana]] once said: "I knew Andy very well. The reason he painted soup cans is that he liked soup."<ref>{{cite web |author= Comenas, Gary |url= http://www.warholstars.org/art/warhol/soup.html |title= Warholstars |publisher= New York Times|date=2002-12-01 |accessdate=2006-12-17 }}</ref> He was thought to have focused on them because they composed a daily dietary staple.<ref> Faerna, p. 20 </ref> Others observed that Warhol merely painted things he held close at [[Heart (symbol)|heart]]. He enjoyed eating Campbell's soup, had a taste for Coca-Cola, loved money, and admired [[movie star]]s. Thus, they all became subjects of his work. Yet another account says that his daily lunches in his studio consisted of Campbell’s Soup and Coca-Cola, and thus, his inspiration came from seeing the empty cans and bottles accumulate on his desk.<ref>Baal-Teshuva, p. 18.</ref>

Warhol did not choose the cans because of business relationships with the Campbell Soup Company. 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]]."<ref name="W90">Bourdon, p. 90 </ref> However, by 1965, the company knew him well enough that he was able to coax actual can labels from them to use as invitations for an exhibit.<ref>Warhol and Hackett p. 163.</ref> They even commissioned a canvas.<ref>Bourdon, p. 213</ref>

== Variations ==

{| style="float:left; clear:right;"
| [[Image:1658 34.jpg|thumb|center|125px|''Small Torn Campbell’s Soup Can (Pepper Pot)'', 1962. In May 2006 the painting sold for $11.8 million.]][[Image:Crushed Campbell's Soup Can (Beef Noodle).JPG|thumb|center|125px|''Crushed Campbell's Soup Can (Beef Noodle)'', 1962. Example of a damaged variation.]]
|}

{| style="float:right; clear:right;"
| [[Image:Big Torn Campbell’s Soup Can (Pepper Pot), 1962.jpg|thumb|center|125px|''Big Torn Campbell’s Soup Can (Pepper Pot)'', 1962. This is similar to the $11.8 Million 2006 sale and similar to the 1970 record setting sale.]][[Image:Campbell's Soup with Can Opener.jpg|thumb|center|125px|''Campbell's Soup with Can Opener'', 1962. Another variation of the originals.]]
|}

Warhol followed the success of his original series with several related works incorporating the same theme of Campbell's Soup cans subjects. These subsequent works along with the original are collectively referred to as the Campbell's Soup cans series and often simply as the Campbell's Soup cans. The subsequent Campbell's Soup can works were very diverse. The heights ranged from 20 inches to 6 feet.<ref>Bourdon, p. 91 </ref> Generally, the cans were portrayed as if they were freshly produced cans without flaws. Occasionally, he chose to depict cans with torn [[label]]s, peeling labels, crushed bodies, or opened [[Lid (container)|lids]] like those in the images in this section. Sometimes he added related items like a bowl of soup or a can opener, such as the one in the image on the right. Sometimes he produced images of related items without any soup cans such as ''Campbell's Tomato Juice Box'' (above right), which are not strictly a part of the series although a part of the theme. Many of these [[Work of art|works]] were produced at his famous studio "[[The Factory]]."

Irving Blum made the original thirty-two canvases available to the public through an arrangement with the [[National Gallery of Art]] in [[Washington, DC]] by placing them on permanent loan two days before Warhol's death.<ref name="AW"> </ref><ref name="AS185">Archer, p. 185 </ref> However, the original ''Campbell's Soup Cans'' is now a part of the [[Museum of Modern Art]] permanent collection.<ref name="MoMA"> </ref> A painting called ''Campbell's Soup Cans II'' is part of the permanent collection of the [[Museum of Contemporary Art, Chicago|Museum of Contemporary Art]] in [[Chicago]]. ''200 Campbell’s Soup Cans'', 1962 (Acrylic on canvas, 72 inches x 100 inches), in the private collection of John and Kimiko Powers is the largest single canvas of the Campbell's Soup can paintings. 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.<ref>Lucie-Smith, p. 16</ref> The very similar ''100 Cans'' from the [[Albright-Knox Art Gallery]] collection is shown above on the left. The earliest soup can painting seems to be ''Campbell's Soup Can (Tomato Rice),'' a 1960 ink, tempura, crayon, and oil canvas.<ref name="W99">Bourdon p. 99 </ref>

In many of the works, including the original series, Warhol drastically simplified the gold medallion that appears on Campbell's Soup cans by replacing the paired allegorical figures with a flat yellow disk.<ref name="W90"> </ref> In most variations, the only hint of three-dimensionality came from the shading on the tin lid. 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.<ref>Bourdon, p. 92.</ref>

By 1970, Warhol established the record auction price for a painting by a living American artist with a $60,000 sale of ''Big Campbell’s Soup Can with Torn Label (Vegetable Beef)'' (1962) in a sale at [[Parke-Bernet]], the preeminent American auction house of the day (later acquired by [[Sotheby's]]).<ref name="W307"> </ref> This record was broken a few months later by his rival for the artworld's attention and approval, Lichtenstein, who sold a depiction of a giant brush stroke, ''Big Painting No. 6'' (1965) for $75,000.

In May 2006, Warhol’s ''Small Torn Campbell Soup Can (Pepper Pot)'' (1962) sold for $11,776,000 and set the current [[auction]] [[world record]] for a painting from the Campbell Soup can series.<ref>{{cite web |author= |url= http://www.stephaniejbrown.com/article_warhol.html |title= Andy Warhol's Campbell Soup Sells For $11.7 Million |publisher = Stephanie J Brown Contemporary Art | accessdate = 2007-01-29}}</ref><ref>{{cite web |author= |url= http://www.foxnews.com/story/0,2933,195011,00.html |title= Andy Warhol's Iconic Campbell's Soup Can Painting Sells for $11.7 Million |publisher = www.foxnews.com/Associated Press |date=2006-05-10 | accessdate = 2007-01-29}}</ref> The painting was purchased for the collection of [[Eli Broad]],<ref>{{cite web |author= |url= http://www.breitbart.com/news/2006/05/10/060510131536.nfluwoy0.html |title= Warhol painting fetches 11.8 million dollars |publisher = |date=2006-05-10 | accessdate = 2007-01-29}}</ref> a man who once set the record for the largest [[credit card]] transaction when he purchased Lichtenstein's "I...I'm Sorry" for $2.5 million with an [[American Express]] card.<ref>{{cite web |author= |url= http://www.iht.com/articles/1995/01/25/topics_26.php |title= American Topics |publisher = International Herald Tribune |date=1995-01-25 | accessdate = 2007-01-30}}</ref>  The $11.8 million Warhol sale was part of the [[Christie's]] Sales of [[Impressionist]], [[Modern art|Modern]], Post-War and [[Contemporary art|Contemporary]] Art for the Spring Season of 2006 that totaled $438,768,924.<ref>{{cite web |author= Roux, Bendetta |url= http://www.christies.com/presscenter/press.asp?location=&month=May&year=2006 |title= Press Center: Press Releases |publisher = Christie's |date=2006-05-11 | accessdate = 2007-01-29}}</ref>

The broad variety of work produced using a semi-mechanized process with many collaborators, Warhol's popularity, the value of his works, and the diversity of works across various media and genre have created a need for the [[Andy Warhol Art Authentication Board]] to certify the authenticity of works by Warhol.<ref>{{cite web |url=http://www.warholfoundation.org/authen.htm |accessdate=March 9 |accessyear=2007 |title= The Andy Warhol Art Authentication Board, Inc. |publisher=Andy Warhol Foundation for the Visual Arts (http://www.warholfoundation.org)}}</ref>

Graffiti Artist [[Banksy]] created a parody of soup cans using a [[Tesco]] Value soup can. <ref>{{cite web |url=http://laughingbone.blogspot.com/2005/03/long-live-banksy.html|accessdate=May 10 |accessyear=2007 |title= The Laughing Bone: Long Live Banksy!</ref>

== Conclusion ==

Warhol's production of Campbell's Soup can works underwent three distinct phases. The first took place in 1962, during which he created realistic images, and even produced numerous pencil of the subject.<ref name="W96"> </ref> In 1965, Warhol revisited the theme while arbitrarily replacing the original red and white colors with a wider variety of hues. In the late 1970s, he again returned to the soup cans while [[Mirror image|inverting]] and reversing the images.<ref name="W99"> </ref> Some in the art world consider Warhol's work completed after [[Andy Warhol#Shooting|his 1968 shooting]] — which occurred the day before the [[Bobby Kennedy]] assassination—<ref name="AS185"> </ref> to be less significant than that done before it.<ref>{{cite web | author= Hughes, Robert | title= American Visions: The Epic History of Art in America | publisher=Knopf, Alfred A. Incorporated | year=1997 |month= 04 | url= http://www.artchive.com/artchive/W/warhol.html | accessdate=2006-12-17 }}</ref>

Today, the most well remembered Warhol Campbell's Soup can works are from the first phase. Warhol is further regarded for his iconic serial celebrity silkscreens of such people as [[Elvis Presley]], [[Marilyn Monroe]], [[Liz Taylor]], and [[Mao Tse Tung]], produced during his 1962–1964 silkscreening phase. In fact, his most commonly repeated painting subjects are Taylor, Monroe, Presley, Jackie Kennedy and similar celebrities.<ref>Sylvester, p. 384 </ref> In addition to being a notable fine artist, Warhol was a renowned cinematographer, author, and commercial illustrator. Posthumously, he became the subject of the largest single-artist art museum in the United States.<ref> {{cite web |author= Adams, Brooks |url= http://findarticles.com/p/articles/mi_m1248/is_n9_v82/ai_15828110 |title= Industrial-strength Warhol - Andy Warhol Museum, Pittsburgh, Pennsylvania |publisher = Art In America | accessdate = 2007-01-24 |month = September | year = 1994}}</ref><ref> {{cite web |author= |url= https://www.studentaffairs.cmu.edu/pghconnections/places/warhol.html |title= The Andy Warhol Museum: 117 Sandusky Street |publisher = Carnegie Mellon University | accessdate = 2007-01-24 }}</ref> Many Warhol art exhibits include footage of his cinematic directorial efforts (e.g., The Museum of Contemporary Art's ANDY WARHOL/SUPERNOVA: Stars, Deaths, Disasters, 1962–1964 that ran from [[March 18]], [[2006]] — [[June 18]], [[2006]]).<ref>{{cite web | author= | title= Past Exhibitions: ANDY WARHOL/SUPERNOVA: Stars, Deaths, Disasters, 1962–1964 | publisher= Museum of Contemporary Art | year=2006 | url= http://www.mcachicago.org/exhibitions/exh_detail.php?id=1&syear=2006 | accessdate=2007-01-08 }}</ref> Some say his contributions as an artist pale to his contributions as a film-maker.<ref>Sylvester, p. 388.</ref> Others make it clear that he was not the most conventionally skilled artist of his day.<ref>Lippard, p. 100.</ref> Nonetheless, his techniques were emulated by other highly-respected artists<ref>Lippard, p. 24.</ref> and his works continue to command high prices.

== Notes ==



{{reflist|3}}

== References ==

* Angell, Callie, ''Andy Warhol Screen Tests: The Films of Andy Warjol Catalogue Raisonne'', Abrams Books in Association With The [[Whitney Museum of American Art]], New York, 2006, ISBN 0-810955393
* Archer, Michael, ''Art Since 1960'', Thames and Hudson Ltd., 1997, ISBN 0-500-20298-2
* Baal-Teshuva, Jacob (ed.), Andy Warhol: 1928–1987, Prutestel, 2004, ISBN 3-7913-1277-4
* Bourdon, David, ''Warhol'', Henry N. Abrams, Inc. Publishing, 1989. ISBN 0-810926342 (hardcover ISBN 0-8109-1761-0)
* Faerna, Jose Maria (ed.), ''Warhol'', Henry N. Abrams, Inc., Publishers, ISBN 0-8109-4655-6
* Frazier, Nancy, ''The Penguin Concise Dictionary of Art History'', Penguin Group, 2000, ISBN 0-670-10015-3
* Harrison, Charles and Paul Wood (eds.), ''Art Theory 1900–1990: An Anthology of Changing Ideas'', Blackwell Publishers, 1993, ISBN 0-6311-6575-4
* Lippard, Lucy R., ''Pop Art'', Thames and Hudson, 1970 (1985 reprint), ISBN 0-500-20052-1
* Livingstone, Marco (ed.), ''Pop Art: An International Perspective'', The Royal Academy of Arts, London, 1991, ISBN 0-8478-1475-0
* Lucie-Smith, Edward, ''Artoday'', Phaidon, ISBN 0-7148-3888-8
* Marcade, Bernard and Freddy De Vree, ''Andy Warhol,'' Galerie Isy Brachot, 1989.
* Random House Library of Painting and Sculpture Volume 4, Dictionary of Artists and Art Terms, 1981, Random House, ISBN 0-39452131-5.
* Stokstad, Marilyn, ''Art History'', 1995, Prentice Hall, Inc., and Harry N. Abrams, Inc., Publishers, ISBN 0-81091960-5
* Sylvester, David, ''About Modern Art: Critical Essays 1948–97'', Henry Holt and Company, 1997, ISBN 0-8050-4441-8 (citing "Factory to Warhouse", May 22, 1994, ''Independent on Sunday Review'' as primary source)
* Vaughan, Willam (ed), ''The Encyclopedia of Artists'', Vol 5., Oxford University Press, Inc., 2000.
* Warin, Jean (ed), ''The Dictionary of Art'', Vol 32, Macmillan Publishers Limited, 1996 (2002 reprint).
* Warhol, Andy and Pat Hackett, ''Popism: The Warhol Sixties'', Harcourt Books, 1980, ISBN 0-15-672960-1
* Watson, Steven, ''Factory Made:Warhol and the Sixties'', Pantheon Books, 2003.

[[Category:1962 paintings]]
[[Category:Andy Warhol]]
[[Category:Painting series]]
[[Category:Pop art]]

[[fr:Campbell's Soup Cans]]
[[zh:金寶湯罐頭 (藝術作品)]]

Campbell’s Soup Cans

2007-05-10T17:13:04Z

165.155.200.144:

{{pp-office}}{{featured article}}
{{otheruses}}

{{Painting| image_file=Campbells Soup Cans MOMA.jpg
| title=Campbell's Soup Cans
| artist=[[Andy Warhol]]
| year=1962
| type=[[Synthetic polymer]] paint on [[canvas]]
| height=Each 50.8
| width=40.6
| height_inch=20
| width_inch = 16
| diameter_cm =
| diameter_inch =
| city=[[New York, NY]] (32 canvas series displayed by year of introduction)
| museum=[[Museum of Modern Art]]}}

'''''Campbell's Soup Fudge''''' (sometimes referred to as '''''32 Campbell's Soup Cans''''')<ref>Frazier, p. 708</ref> is a work of art produced in 1962 by [[Andy Warhol]]. It consists of 32 canvases, each measuring 20 inches in height × 16 inches in width (50.8 × 40.6 cm) and each consisting of a painting of a [[Campbell Soup Company|Campbell's Soup]] can — one of each of the [[canned soup]] varieties the company offered at the time.<ref name="MoMA">{{cite web|url=http://www.moma.org/collection/browse_results.php?object_id=79809|accessdate=2007-03-09|publisher=The Museum of Modern Art|date=2007|title=The Collection}}</ref> The individual paintings were produced with a semi-mechanized [[silkscreen]] process, using a non-[[painterly]] style. ''Campbell's Soup Cans''' reliance on themes from [[popular culture]] helped to usher in [[pop art]] as a major [[art movement]].

For Warhol, a commercial [[illustrator]] who became a successful [[author]], [[painter]], and [[film director]], the work was his first one-man [[art gallery|gallery]] exhibition as a [[fine artist]].<ref name="An38">Angell, p. 38</ref><ref name="L32">Livingstone, p. 32.</ref> First exhibited in the [[Ferus Gallery]] of Los Angeles, it marked the [[West Coast of the United States|West Coast]] debut of pop art.<ref name="L158">Lippard, p. 158.</ref> The combination of the semi-mechanized process, the non-[[painterly]] style, and the commercial subject initially caused offense, as the work's blatantly mundane commercialism represented a direct affront to the technique and philosophy of [[abstract expressionism]]. The abstract expressionism art movement was dominant during the post-[[World War II|war]] period, and it held not only to "[[fine art]]" values and [[aesthetics]] but also to a [[Mysticism|mystical]] inclination. This controversy led to a great deal of debate about the merits and ethics of such work. Warhol's motives as an [[artist]] were questioned, and they continue to be topical to this day. The public commotion helped transform Warhol from being an accomplished 1950s commercial illustrator to a notable fine artist, and it helped distinguish him from other rising pop artists. Although commercial demand for his paintings was not immediate, Warhol's association with the subject led to his name becoming synonymous with the Campbell's Soup can paintings.

Warhol subsequently produced a wide variety of [[Work of art|art works]] depicting Campbell's Soup cans during three distinct phases of his career, and he produced other works using a variety of images from the world of commerce and mass media. Today, the Campbell's Soup cans [[Theme (visual arts)|theme]] is generally used in reference to the original set of paintings as well as the later Warhol [[drawing]]s and [[painting]]s depicting Campbell's Soup cans. As a result of the eventual popularity of the entire series of similarly themed works, Warhol's reputation grew to the point where he was not only the most-renowned American pop art artist,<ref name="ArtHistory">Stokstad, p. 1130</ref> but also the highest-priced living American artist.<ref name="W307">Bourdon p. 307 </ref>


== Early career ==

===New York Art Scene===
Warhol arrived in New York City in 1949, directly from the [[Carnegie Institute of Technology]].<ref name="L31">Livingstone, p. 31.</ref> He quickly achieved success as a commercial illustrator, and his first published drawing appeared in the Summer 1949 issue of ''[[Glamour (magazine)|Glamour Magazine]]''.<ref>Watson, p 25.</ref> In 1952, he had his first art gallery show at the [[Bodley Gallery]] with a display of [[Truman Capote]]-inspired works.<ref>Watson, pp 27–8.</ref> By 1955, he was tracing [[photograph]]s borrowed from the [[New York Public Library]]'s photo collection with the hired assistance of Nathan Gluck, and reproducing them with a process he had developed earlier as a collegian at Carnegie Tech. His process, which foreshadowed his later work, involved pressing wet ink illustrations against adjoining paper.<ref>Watson, pp 26–7.</ref> During the 50s, he had regular showings of his drawings. He even exhibited at the [[Museum of Modern Art]] (''Recent Drawings'', 1956).<ref name="L31"> </ref>

=== Pop art ===

[[Image:Campbell's Tomato Juice Box. 1964. Synthetic polymer paint and silkscreen ink on wood.jpg|thumb|left|125px|''Campbell's Tomato Juicey Box'', 1964. Example of Warhol's first exhibit with Costelli.]]

{| style="float:right; clear:right;"
| [[Image:Warhol Campbell's Soup Can (Tomato) 1962 Pencil on paper.jpg|thumb|center|125px|''Campbell's Soup Can (Tomato)'', 1962. Stencils such as this are the basis for silkscreening.]]
|}

In 1960, Warhol began producing his first canvases, which he based on comic strip subjects.<ref> Harrison and Wood, p. 730.</ref> In late 1961, he learned the process of [[silkscreen]]ing from Floriano Vecchi,<ref name="Wat79">Watson, p 79.</ref> who had run the Tiber Press since 1953. 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.<ref name="W&H">Warhol and Hackett, p. 28</ref> Campbell’s Soup cans were among Warhol's first silkscreen productions; the first were [[United States one-dollar bill|U.S. dollar bills]]. The pieces were made from stencils; one for each color. Warhol did not begin to convert photographs to silkscreens until after the original series of Campbell’s Soup cans had been produced.<ref name="W123">Bourdon, p. 123</ref>

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]].<ref name="W109">Bourdon, p. 109 </ref> In fact, he once said "I've got to do something that really will have a lot of impact that will be different enough from Lichtenstein and [[James Rosenquist|Rosenquist]], that will be very personal, that won't look like I'm doing exactly what they're doing."<ref name="Wat79"> </ref> In February 1962, Lichtenstein displayed at a sold-out exhibition of [[cartoon]] pictures at [[Leo Castelli]]'s eponymous Leo Castelli Gallery, ending the possibility of Warhol exhibiting his own cartoon paintings.<ref>Bourdon, p. 102</ref> In fact, Castelli had visited Warhol's gallery in 1961 and said that the work he saw there was too similar to Lichtenstein's,<ref>Watson, p 74–5.</ref><ref>Angell, p. 84</ref> although Warhol's and Lichtenstein’s comic artwork differed in subject and techniques (e.g., Warhol’s comic-strip figures were humorous pop culture caricatures such as [[Popeye]], while Lichtenstein’s were generally of stereotypical hero and heroines, inspired by comic strips devoted to adventure and romance).<ref>Angell, p. 86</ref> Castelli chose not to represent both artists at that time, but he would, in 1964, exhibit Warhol works such as reproductions of Campbell's Juice Boxes (pictured below right) and Brillo Soap Boxes.<ref name="AS60">Archer, p. 14</ref> He would again exhibit Warhol's work in 1966.<ref name="Syl">Sylvester, p. 386</ref> Lichtenstein's 1962 show was quickly followed by [[Wayne Thiebaud]]’s [[April 17]], [[1962]] one man show at the Allan Stone Gallery featuring all-American foods, which agitated Warhol as he felt it jeopardized his own food-related soup can works.<ref>Bourdon, pp. 102–3</ref> Warhol was considering returning to the Bodley gallery, but the Bodley's director did not like his pop art works.<ref name="Wat79"> </ref> In 1961, Warhol was offered a three-man show by Allan Stone at the latter's 18 East 82nd Street Gallery with Rosenquist and [[Robert Indiana]], but all three were insulted by this proposition.<ref>Bourdon, p. 100.</ref>

Irving Blum was the first dealer to show Warhol’s soup can paintings.<ref name="An38"> </ref> Blum happened to be visiting Warhol in May 1962, at a time when Warhol was being featured in a [[May 11]], [[1962]] ''[[Time Magazine]]'' [[Article (publishing)|article]] "The Slice-of-Cake School" (that included a portion of Warhol's silkscreened ''200 One Dollar Bills''), along with [[Roy Lichtenstein]], [[James Rosenquist]], and [[Wayne Thiebaud]].<ref>Watson p. 79–80.</ref> Warhol was the only artist whose photograph actually appeared in the article, which is indicative of his knack for manipulating the [[mass media]].<ref name="W110">Bourdon, p. 110 </ref> Blum saw dozens of Campbell’s Soup can variations, including a grid of ''One-Hundred Soup Cans'' that day.<ref name="W109"> </ref> Blum was shocked that Warhol had no [[Art gallery|gallery]] arrangement and offered him a July show at the [[Ferus Gallery]] in [[Los Angeles]]. This would be Warhol’s first one man show of his pop art.<ref name="An38"> </ref><ref name="L32"> </ref> Warhol was assured by Blum that the newly founded ''[[Artforum]] magazine'', which had an office above the gallery, would cover the show. Not only was the show Warhol's first solo gallery exhibit, but it was considered to be the West Coast premiere of poop art.<ref name="L158"> </ref>

I had to do a project on Andy Warhol and I did a wonderful job. I congradulate him for the picture he did of Mickey Mouse and the Cambell's Soup Cans.

== The premiere ==

[[Image:Black font crop from Campbells Soup Cans MOMA.jpg|thumb|left|200px|Black font coloring is visible in ''Clam Chowder'' and ''Beef'' canvases from ''Campbell's Soup Cans'', 1962.]]

[[Image:Cheddar Cheese crop from Campbells Soup Cans MOMA.jpg|thumb|left|125px|Golden banners make the ''Cheddar Cheese'' canvas from ''Campbell's Soup Cans'', 1962 unique.]]

Warhol sent Blum thirty-two 20 inch x 16 inch canvases of Campbell’s Soup can portraits, each representing a particular variety of the Campbell’s Soup flavors available at the time.<ref name="MoMA"> </ref> The thirty-two canvases are very similar: each is a realistic depiction of the iconic, mostly red and white Campbell's Soup can silkscreened onto a white background. 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 ''([[Clam Chowder#Manhattan Clam Chowder|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: ''Beef Broth (Bouillon)'' and ''Consomme (Beef).'' 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!,'' and a middle center golden banner says ''Great As A Sauce Too!''.

The [[Art exhibition|exhibition]] opened [[July 9]], [[1962]] with Warhol [[in absentia]]. The thirty-two single soup can canvases were placed in a single line,<ref>A copyrighted image can be seen [http://pros.orange.fr/quatuor/art_d32_0001_03.htm here].</ref> much like products on shelves, each displayed on narrow individual ledges.<ref name="AS60" /> The contemporary impact was uneventful, but the historical impact is considered today to have been a watershed. The gallery audience was unsure what to make of the exhibit. A [[John Coplans]] Artform 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.<ref name="Wat80">Watson p. 80</ref><ref>Bourdon, p. 120</ref> Few actually saw the paintings at the Los Angeles exhibit or at Warhol’s [[studio]], but word spread in the form of controversy and scandal due to the works seeming attempt to replicate the appearance of manufactured [[Object (philosophy)|objects]].<ref>Bourdon, p. 87 </ref> Extended debate on the merits and ethics of focusing one's efforts on such a mundane commercial inanimate model kept Warhol's work in art world conversations. 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. [[Dennis Hopper]] was the first of only a half dozen to pay $100 for a canvas. Blum decided to try to keep the thirty-two canvases as an intact set and bought back the few sales. This pleased Warhol who had conceived of them as a set, and he agreed to sell the set for ten monthly $100 [[Installment plan|installments]] to Blum.<ref name="Wat80"> </ref><ref name="W123"> </ref> Warhol had passed the milestone of his first serious art show. Unfortunately, while this exhibition was on view in Los Angeles, Martha Jackson canceled another planned December 1962 New York exhibition.<ref>Watson pp. 80–81</ref>

The Ferus show closed on [[August 4]], [[1962]], the day before [[Marilyn Monroe]]’s suicide. Warhol went on to purchase a Monroe publicity still from the film [[Niagara (film)|Niagara]], which he later cropped and used to create one of his most well-known works: his painting of Marilyn. Although Warhol continued painting other pop art, including Martinson’s coffee cans, [[Coca-Cola]] bottles, [[S&H Green Stamps]], and Campbell’s Soup cans, he soon became known to many as the artist who painted celebrities. He returned to Blum’s gallery to exhibit [[Elvis Presley|Elvis]] and [[Elizabeth Taylor|Liz]] in October [[1963 in art|1963]].<ref name="An38"> </ref> His fans Dennis Hopper and [[Brooke Hayward]] (Hopper's wife at the time) held a welcoming party for the event.<ref> Angell, p. 101</ref>

Since Warhol gave no indication of a definitive ordering of the collection, the sequence chosen by [[MoMA]] (in the picture at the upper right of this article) in the display from their permanent [[Collection (museum)|collection]] reflects the chronological order in which the varieties were introduced by the Campbell Soup Company, beginning with ''Tomato'' in the upper left, which debuted in 1897.<ref name="MoMA"> </ref>

== Motivation ==

[[Image:100 Cans.jpg|thumb|right|125px|''100 Cans'', 1962. Example of the variations that Blum saw when determining to introduce him by exhibit.]]

Several [[Anecdote|anecdotal]] stories supposedly explain why Warhol chose Campbell's Soup cans as the focal point of his pop art. 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. According to Ted Carey — one of Warhol's commercial art assistants in the late fifties — it was [[Muriel Latow]] who suggested the idea for both the soup cans and Warhol's early U.S. dollar paintings.<ref name="Warholstars"> {{cite web |author= Comenas, Gary |url= http://www.warholstars.org/art/warhol/soup.html |title= Warholstars: The Origin of the Soup Cans |publisher = warholstars.org | accessdate = 2007-01-04}}</ref>

Muriel Latow was then an aspiring [[interior decorator]], and owner of the Latow Art Gallery in the [[Upper East Side|East 60s]] in Manhattan. She told Warhol that he should paint "Something you see every day and something that everybody would 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 fabulous." According to Carey, Warhol went to a supermarket the following day and bought a case of "all the soups", which Carey said he saw when he stopped by Warhol's apartment the next day. When the art critic G.R. 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."<ref name="Warholstars"> </ref><ref>Harrison and Wood, p. 732. Republished from Swenson, G. R., "What is Pop Art? Interviews with Eight Painters (Part I)," ''ARTnews'', New York, 7 November 1963, reprinted in John Russell and Suzi Gabik (eds.), ''Pop Art Redefined'', London, 1969, p. 116–119.</ref>

Another account of Latow's influence on Warhol holds that she asked him what he loved most, and because he replied "Money" she suggested that he paint U.S. dollar bills.<ref name="AW">Marcade p. 28</ref> According to this story, Latow later advised that in addition to painting money he should paint something else very simple, such as Campbell's Soup cans.

In an interview for London's ''[[The Face]]'' in 1985, David Yarritu asked Warhol about flowers that Warhol's mother made from [[tin can]]s. In his response, Warhol mentioned them as one of the reasons behind his first tin can paintings:

: David Yarritu: I heard that your mother used to make these little tin flowers and sell them to help support you in the early days.
: Andy Warhol: Oh God, yes, it's true, the tin flowers were made out of those fruit cans, that's the reason why I did my first tin-can paintings...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. It's very easy and you just make flowers out of them. My mother always had lots of cans around, including the soup cans.<ref name="Warholstars"> </ref>

Several stories mention that Warhol's choice of soup cans reflected his own avid devotion to Campbell's soup as a consumer. [[Robert Indiana]] once said: "I knew Andy very well. The reason he painted soup cans is that he liked soup."<ref>{{cite web |author= Comenas, Gary |url= http://www.warholstars.org/art/warhol/soup.html |title= Warholstars |publisher= New York Times|date=2002-12-01 |accessdate=2006-12-17 }}</ref> He was thought to have focused on them because they composed a daily dietary staple.<ref> Faerna, p. 20 </ref> Others observed that Warhol merely painted things he held close at [[Heart (symbol)|heart]]. He enjoyed eating Campbell's soup, had a taste for Coca-Cola, loved money, and admired [[movie star]]s. Thus, they all became subjects of his work. Yet another account says that his daily lunches in his studio consisted of Campbell’s Soup and Coca-Cola, and thus, his inspiration came from seeing the empty cans and bottles accumulate on his desk.<ref>Baal-Teshuva, p. 18.</ref>

Warhol did not choose the cans because of business relationships with the Campbell Soup Company. 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]]."<ref name="W90">Bourdon, p. 90 </ref> However, by 1965, the company knew him well enough that he was able to coax actual can labels from them to use as invitations for an exhibit.<ref>Warhol and Hackett p. 163.</ref> They even commissioned a canvas.<ref>Bourdon, p. 213</ref>

== Variations ==

{| style="float:left; clear:right;"
| [[Image:1658 34.jpg|thumb|center|125px|''Small Torn Campbell’s Soup Can (Pepper Pot)'', 1962. In May 2006 the painting sold for $11.8 million.]][[Image:Crushed Campbell's Soup Can (Beef Noodle).JPG|thumb|center|125px|''Crushed Campbell's Soup Can (Beef Noodle)'', 1962. Example of a damaged variation.]]
|}

{| style="float:right; clear:right;"
| [[Image:Big Torn Campbell’s Soup Can (Pepper Pot), 1962.jpg|thumb|center|125px|''Big Torn Campbell’s Soup Can (Pepper Pot)'', 1962. This is similar to the $11.8 Million 2006 sale and similar to the 1970 record setting sale.]][[Image:Campbell's Soup with Can Opener.jpg|thumb|center|125px|''Campbell's Soup with Can Opener'', 1962. Another variation of the originals.]]
|}

Warhol followed the success of his original series with several related works incorporating the same theme of Campbell's Soup cans subjects. These subsequent works along with the original are collectively referred to as the Campbell's Soup cans series and often simply as the Campbell's Soup cans. The subsequent Campbell's Soup can works were very diverse. The heights ranged from 20 inches to 6 feet.<ref>Bourdon, p. 91 </ref> Generally, the cans were portrayed as if they were freshly produced cans without flaws. Occasionally, he chose to depict cans with torn [[label]]s, peeling labels, crushed bodies, or opened [[Lid (container)|lids]] like those in the images in this section. Sometimes he added related items like a bowl of soup or a can opener, such as the one in the image on the right. Sometimes he produced images of related items without any soup cans such as ''Campbell's Tomato Juice Box'' (above right), which are not strictly a part of the series although a part of the theme. Many of these [[Work of art|works]] were produced at his famous studio "[[The Factory]]."

Irving Blum made the original thirty-two canvases available to the public through an arrangement with the [[National Gallery of Art]] in [[Washington, DC]] by placing them on permanent loan two days before Warhol's death.<ref name="AW"> </ref><ref name="AS185">Archer, p. 185 </ref> However, the original ''Campbell's Soup Cans'' is now a part of the [[Museum of Modern Art]] permanent collection.<ref name="MoMA"> </ref> A painting called ''Campbell's Soup Cans II'' is part of the permanent collection of the [[Museum of Contemporary Art, Chicago|Museum of Contemporary Art]] in [[Chicago]]. ''200 Campbell’s Soup Cans'', 1962 (Acrylic on canvas, 72 inches x 100 inches), in the private collection of John and Kimiko Powers is the largest single canvas of the Campbell's Soup can paintings. 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.<ref>Lucie-Smith, p. 16</ref> The very similar ''100 Cans'' from the [[Albright-Knox Art Gallery]] collection is shown above on the left. The earliest soup can painting seems to be ''Campbell's Soup Can (Tomato Rice),'' a 1960 ink, tempura, crayon, and oil canvas.<ref name="W99">Bourdon p. 99 </ref>

In many of the works, including the original series, Warhol drastically simplified the gold medallion that appears on Campbell's Soup cans by replacing the paired allegorical figures with a flat yellow disk.<ref name="W90"> </ref> In most variations, the only hint of three-dimensionality came from the shading on the tin lid. 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.<ref>Bourdon, p. 92.</ref>

By 1970, Warhol established the record auction price for a painting by a living American artist with a $60,000 sale of ''Big Campbell’s Soup Can with Torn Label (Vegetable Beef)'' (1962) in a sale at [[Parke-Bernet]], the preeminent American auction house of the day (later acquired by [[Sotheby's]]).<ref name="W307"> </ref> This record was broken a few months later by his rival for the artworld's attention and approval, Lichtenstein, who sold a depiction of a giant brush stroke, ''Big Painting No. 6'' (1965) for $75,000.

In May 2006, Warhol’s ''Small Torn Campbell Soup Can (Pepper Pot)'' (1962) sold for $11,776,000 and set the current [[auction]] [[world record]] for a painting from the Campbell Soup can series.<ref>{{cite web |author= |url= http://www.stephaniejbrown.com/article_warhol.html |title= Andy Warhol's Campbell Soup Sells For $11.7 Million |publisher = Stephanie J Brown Contemporary Art | accessdate = 2007-01-29}}</ref><ref>{{cite web |author= |url= http://www.foxnews.com/story/0,2933,195011,00.html |title= Andy Warhol's Iconic Campbell's Soup Can Painting Sells for $11.7 Million |publisher = www.foxnews.com/Associated Press |date=2006-05-10 | accessdate = 2007-01-29}}</ref> The painting was purchased for the collection of [[Eli Broad]],<ref>{{cite web |author= |url= http://www.breitbart.com/news/2006/05/10/060510131536.nfluwoy0.html |title= Warhol painting fetches 11.8 million dollars |publisher = |date=2006-05-10 | accessdate = 2007-01-29}}</ref> a man who once set the record for the largest [[credit card]] transaction when he purchased Lichtenstein's "I...I'm Sorry" for $2.5 million with an [[American Express]] card.<ref>{{cite web |author= |url= http://www.iht.com/articles/1995/01/25/topics_26.php |title= American Topics |publisher = International Herald Tribune |date=1995-01-25 | accessdate = 2007-01-30}}</ref>  The $11.8 million Warhol sale was part of the [[Christie's]] Sales of [[Impressionist]], [[Modern art|Modern]], Post-War and [[Contemporary art|Contemporary]] Art for the Spring Season of 2006 that totaled $438,768,924.<ref>{{cite web |author= Roux, Bendetta |url= http://www.christies.com/presscenter/press.asp?location=&month=May&year=2006 |title= Press Center: Press Releases |publisher = Christie's |date=2006-05-11 | accessdate = 2007-01-29}}</ref>

The broad variety of work produced using a semi-mechanized process with many collaborators, Warhol's popularity, the value of his works, and the diversity of works across various media and genre have created a need for the [[Andy Warhol Art Authentication Board]] to certify the authenticity of works by Warhol.<ref>{{cite web |url=http://www.warholfoundation.org/authen.htm |accessdate=March 9 |accessyear=2007 |title= The Andy Warhol Art Authentication Board, Inc. |publisher=Andy Warhol Foundation for the Visual Arts (http://www.warholfoundation.org)}}</ref>

Graffiti Artist [[Banksy]] created a parody of soup cans using a [[Tesco]] Value soup can. <ref>{{cite web |url=http://laughingbone.blogspot.com/2005/03/long-live-banksy.html|accessdate=May 10 |accessyear=2007 |title= The Laughing Bone: Long Live Banksy!</ref>

== Conclusion ==

Warhol's production of Campbell's Soup can works underwent three distinct phases. The first took place in 1962, during which he created realistic images, and even produced numerous pencil of the subject.<ref name="W96"> </ref> In 1965, Warhol revisited the theme while arbitrarily replacing the original red and white colors with a wider variety of hues. In the late 1970s, he again returned to the soup cans while [[Mirror image|inverting]] and reversing the images.<ref name="W99"> </ref> Some in the art world consider Warhol's work completed after [[Andy Warhol#Shooting|his 1968 shooting]] — which occurred the day before the [[Bobby Kennedy]] assassination—<ref name="AS185"> </ref> to be less significant than that done before it.<ref>{{cite web | author= Hughes, Robert | title= American Visions: The Epic History of Art in America | publisher=Knopf, Alfred A. Incorporated | year=1997 |month= 04 | url= http://www.artchive.com/artchive/W/warhol.html | accessdate=2006-12-17 }}</ref>

Today, the most well remembered Warhol Campbell's Soup can works are from the first phase. Warhol is further regarded for his iconic serial celebrity silkscreens of such people as [[Elvis Presley]], [[Marilyn Monroe]], [[Liz Taylor]], and [[Mao Tse Tung]], produced during his 1962–1964 silkscreening phase. In fact, his most commonly repeated painting subjects are Taylor, Monroe, Presley, Jackie Kennedy and similar celebrities.<ref>Sylvester, p. 384 </ref> In addition to being a notable fine artist, Warhol was a renowned cinematographer, author, and commercial illustrator. Posthumously, he became the subject of the largest single-artist art museum in the United States.<ref> {{cite web |author= Adams, Brooks |url= http://findarticles.com/p/articles/mi_m1248/is_n9_v82/ai_15828110 |title= Industrial-strength Warhol - Andy Warhol Museum, Pittsburgh, Pennsylvania |publisher = Art In America | accessdate = 2007-01-24 |month = September | year = 1994}}</ref><ref> {{cite web |author= |url= https://www.studentaffairs.cmu.edu/pghconnections/places/warhol.html |title= The Andy Warhol Museum: 117 Sandusky Street |publisher = Carnegie Mellon University | accessdate = 2007-01-24 }}</ref> Many Warhol art exhibits include footage of his cinematic directorial efforts (e.g., The Museum of Contemporary Art's ANDY WARHOL/SUPERNOVA: Stars, Deaths, Disasters, 1962–1964 that ran from [[March 18]], [[2006]] — [[June 18]], [[2006]]).<ref>{{cite web | author= | title= Past Exhibitions: ANDY WARHOL/SUPERNOVA: Stars, Deaths, Disasters, 1962–1964 | publisher= Museum of Contemporary Art | year=2006 | url= http://www.mcachicago.org/exhibitions/exh_detail.php?id=1&syear=2006 | accessdate=2007-01-08 }}</ref> Some say his contributions as an artist pale to his contributions as a film-maker.<ref>Sylvester, p. 388.</ref> Others make it clear that he was not the most conventionally skilled artist of his day.<ref>Lippard, p. 100.</ref> Nonetheless, his techniques were emulated by other highly-respected artists<ref>Lippard, p. 24.</ref> and his works continue to command high prices.

== Notes ==



{{reflist|3}}

== References ==

* Angell, Callie, ''Andy Warhol Screen Tests: The Films of Andy Warjol Catalogue Raisonne'', Abrams Books in Association With The [[Whitney Museum of American Art]], New York, 2006, ISBN 0-810955393
* Archer, Michael, ''Art Since 1960'', Thames and Hudson Ltd., 1997, ISBN 0-500-20298-2
* Baal-Teshuva, Jacob (ed.), Andy Warhol: 1928–1987, Prutestel, 2004, ISBN 3-7913-1277-4
* Bourdon, David, ''Warhol'', Henry N. Abrams, Inc. Publishing, 1989. ISBN 0-810926342 (hardcover ISBN 0-8109-1761-0)
* Faerna, Jose Maria (ed.), ''Warhol'', Henry N. Abrams, Inc., Publishers, ISBN 0-8109-4655-6
* Frazier, Nancy, ''The Penguin Concise Dictionary of Art History'', Penguin Group, 2000, ISBN 0-670-10015-3
* Harrison, Charles and Paul Wood (eds.), ''Art Theory 1900–1990: An Anthology of Changing Ideas'', Blackwell Publishers, 1993, ISBN 0-6311-6575-4
* Lippard, Lucy R., ''Pop Art'', Thames and Hudson, 1970 (1985 reprint), ISBN 0-500-20052-1
* Livingstone, Marco (ed.), ''Pop Art: An International Perspective'', The Royal Academy of Arts, London, 1991, ISBN 0-8478-1475-0
* Lucie-Smith, Edward, ''Artoday'', Phaidon, ISBN 0-7148-3888-8
* Marcade, Bernard and Freddy De Vree, ''Andy Warhol,'' Galerie Isy Brachot, 1989.
* Random House Library of Painting and Sculpture Volume 4, Dictionary of Artists and Art Terms, 1981, Random House, ISBN 0-39452131-5.
* Stokstad, Marilyn, ''Art History'', 1995, Prentice Hall, Inc., and Harry N. Abrams, Inc., Publishers, ISBN 0-81091960-5
* Sylvester, David, ''About Modern Art: Critical Essays 1948–97'', Henry Holt and Company, 1997, ISBN 0-8050-4441-8 (citing "Factory to Warhouse", May 22, 1994, ''Independent on Sunday Review'' as primary source)
* Vaughan, Willam (ed), ''The Encyclopedia of Artists'', Vol 5., Oxford University Press, Inc., 2000.
* Warin, Jean (ed), ''The Dictionary of Art'', Vol 32, Macmillan Publishers Limited, 1996 (2002 reprint).
* Warhol, Andy and Pat Hackett, ''Popism: The Warhol Sixties'', Harcourt Books, 1980, ISBN 0-15-672960-1
* Watson, Steven, ''Factory Made:Warhol and the Sixties'', Pantheon Books, 2003.

[[Category:1962 paintings]]
[[Category:Andy Warhol]]
[[Category:Painting series]]
[[Category:Pop art]]

[[fr:Campbell's Soup Cans]]
[[zh:金寶湯罐頭 (藝術作品)]]

Upgrade U

2007-03-06T18:02:45Z

165.155.200.144:

{{Infobox Single |
| Name = Upgrade U
| Cover = Upgrade U.jpg
| Caption =
| Type =
| Artist = [[Beyoncé]] featuring [[Jay-Z]]
| alt Artist =
| Album = [[B'Day]]
| Published =
| Released = [[12" single]], [[digital download]]
| track_no = 4
| Recorded = Sony Music Studios, [[New York City]]; 2006
| Genre = [[R&B]], [[Hip hop music|Hip hop]]
| Length = 4:32
| Writer = Beyoncé Knowles, Mk. Makeba, [[Sean Garrett]], [[Solange Knowles]], [[Angela Beyince]], [[Shawn Carter]], Willie Clarke, Clarence Reid
| Label = [[Columbia Records|Columbia]]
| Producer = Beyoncé Knowles, Cameron Wallace, [[Swizz Beatz]]
| Misc =
| Chart position =
* #5 ([[Germany]] R&B)
* #10 ([[Lithuania]])
* #11 ([[Hot R&B/Hip-Hop Songs]])
* #59 ([[U.S.]] [[Hot 100]])
{{Extra chronology
| Artist = [[Beyoncé Knowles|Beyoncé]]
| Type = singles
| Last single = "[[Irreplaceable]]" (2006)
| This single = "[[Upgrade U]]" (2006)
| Next single = "[[Listen (song)|Listen]]" (2006)
}}
{{Extra chronology
| Artist = [[Jay-Z]]
| Type = singles
| Last single = "[[Lost One]] (2006)
| This single = "Upgrade U" (2006)
| Next single = "[[Hollywood (Jay-Z song)|Hollywood]]" (2007)
}}
}}

"'''Upgrade U'''" is an [[R&B]] song written by [[Beyoncé Knowles]], [[Sean Garrett]], [[Solange Knowles]], [[Angela Beyince]], [[Jay-Z|Shawn "Jay-Z" Carter]], Mk. Makeba, Willie Clarke and Clarence Reid for Beyoncé's second solo album, ''[[B'Day]]'' (2006). It is her fourth collaboration with Jay-Z, who is featured on the song. The song samples [[Betty Wright]]'s "Girls Can't Do What the Guys Do", and was originally going to have featured [[T.I.]]. The song is about a relationship between a female and a male; Beyoncé sings that she can upgrade her man and introduce him to new things, improving his life style and reputation.
== Music video ==
[[Image:Upgrade_u_vid.jpg|200px|thumb|left|Beyoncé acting as Jay-Z in "Upgrade U".]]
The video was directed by Melina, who also directed videos such as Ludacris's Money Maker Video. The video premiered on [[February 28]] on [[106 & Park]], the same day as the video for her other release, [[Beautiful Liar]], which features [[Shakira]]. In the beginning, Beyoncé is seen mouthing the words of Jay-Z's lyrics, dressed in masculine, hip-hop style clothing. She is later seen singing in the trunk of and in the backseat of a [[Rolls-Royce (car)|Rolls Royce]]. During the choruses she she dances in a gold minidress in front of a group of male back-up dancers. She continues the Jay-Z imitation through his rapped verse, and halfway through it he appears to finish the rap himself. Beyoncé is seen amidst gold watches and jewelery, continuing the motif of luxury that is alluded to in the song. As of March 5th, 2007 the music video has peaked at #9 on BET's 106 & Park.

==Song References==
*[[Audemars Piguet]], a Swiss watchmaker
*[[Jacob the Jeweler]], a celebrity jeweler
*[[Cartier_SA|Cartier]], a jeweler and watch manufacturer
*[[Herm%C3%A8s]], a luxury goods company
*Lorraine Schwartz, a celebrity jeweler
*[[Ralph Lauren]] Purple Label, a higher-end division of the legendary designer's clothing line
*Natura Bisse Diamond Cream, diamond dust mixed with cream that costs $235 for only 1.7 ounces
*6 star pent suites, only a handful exist in the world such as Crown Macau in China and Dreams Los Cabos near San Jose del Cabo in Mexico
*The [[Amalfi Coast]], located in southern Italy. It's an easy trek to the islands of Capri, the Bay of Naples' Ischia and Procida
*[[Fendi]], a luxury goods company
*The Bloomberg Luxury Accommodation Group, located in South Africa and caters to Hollywood-millionaire types

==Charts==
The song gained popularity on R&B and hip hop radio stations in the U.S. after the release of ''B'Day'',<ref>Caulfield, Keith. [http://www.billboard.com/bbcom/ask_bb/article_display.jsp?vnu_content_id=1003525978 "Ask Billboard - Replacing Irreplaceable"]. ''[[Billboard (magazine)|Billboard]]''. [[December 29]] [[2006]]. Retrieved [[February 8]] [[2007]].</ref> and consequently it entered the U.S. [[Billboard Hot 100|''Billboard'' Hot 100]] and [[Hot R&B/Hip-Hop Songs]] charts. It debuted on the Hot 100 on [[November 9]] [[2006]] at number ninety-two and its current peak position is fifty-nine, and it has peaked at number eleven on the R&B/Hip-Hop chart.<ref>[http://www.billboard.com/bbcom/retrieve_chart_history.do?model.vnuArtistId=317670&model.vnuAlbumId=791335 "Beyoncé - Artist Chart History - Singles"]. ''[[Billboard (magazine)|Billboard]]''. Retrieved [[February 8]] [[2007]].</ref>

{| class="wikitable"
!align="left"|Chart
!align="center"|Peak position
|-
|align="left"|[[Media Control Charts|German Black Charts]]<ref>[http://www.trendcharts.de/dbc.html German Black Charts]. Trencharts.de. Retrieved [[February 14]], [[2007]].</ref>
|align="center"|5
|-
|align="left"|[[Lithuania Airplay Chart]]
|align="center"|10
|-
|align="left"|U.S. ''Billboard'' [[Hot 100]]
|align="center"|59
|-
|align="left"|U.S. ''Billboard'' [[Hot R&B/Hip-Hop Songs]]
|align="center"|11
|-
|}

== Credits and personnel ==
* Lead vocals: Beyoncé Knowles, Jay-Z
* [[Audio mixing|Mixed]] by Jason Goldstein
* Mixing assistance: Steve Tolle
* Recorded by Jim Caruana at Sony Music Studios, [[New York City]]
* Assisted by Rob Kinelski

== Version Controversy ==
Many fans have been enjoying the version of Upgrade U with Jay-Z's rap version which a off the top sick rhyme that was made. However Hot 97 has been playing not only the Jay-Z version of Upgrade U but the T.I. version of Upgrade U. Yet and still the T.I. song version hasn't leaked out yet but is still playing on Hot 97.

== Formats and track listing ==
These are the formats and track listings of major releases of "Upgrade U".
{{col-begin}}
{{col-2}}
;12" single I<ref>[http://www.2-funky.co.uk/products/Soul-@-R&B/552697 Vinyl I]. 2FunkyRecords. Retrieved on [[February 14]], [[2007]].</ref>
# "Upgrade U" (album version) – 4:32
# "Upgrade U" (instrumental) - 4:32
# "Upgrade U" (album version - no rap) - 4:02
# "Upgrade U" (acapella) - 4:32
{{col-2}}
;12" single II<ref>[http://www.2-funky.co.uk/products/Soul-@-R&B/550176 Vinyl II]. 2FunkyRecords. Retrieved on [[February 14]], [[2007]].</ref>
# "Upgrade U" (album version) – 4:32
# "Creole" - 3:53
# "Lost Yo Mind" – 3:47
# "Back Up" - 3:27
{{col-end}}

'''Other Official Remixes''':

# "Upgrade U" (Original Version)(featuring. T.I.)
# "Upgrade U" (Beyonce's Rap Intro)

==Notes and references==
<references/>

*Reid, Shaheem and Cobbin-Wooten, Raslyn. [http://www.mtv.com/news/articles/1548533/20061219/jay_z.jhtml "Luxury Ties, Fancy Suites: A Guide To Beyoncé And Jay-Z's 'Upgrade U'"]. [[MTV News]]. [[December 20]] [[2006]].
*Lithuania Charts Company [http://www.blogas.lt/hitfm/205871/lietuvos-top-37.html "Lithuania Airplay Chart"].''MTV Baltics News''. [[February 16]] [[2007]].

{{Beyoncé Knowles}}
{{Jay-Z}}

[[Category:2006 songs]]
[[Category:Beyoncé songs]]
[[Category:Jay-Z songs]]

[[es:Upgrade U]]
[[pl:Upgrade U]]

Upgrade U

2007-03-06T17:59:15Z

165.155.200.144: /* Formats and track listing */

{{Infobox Single |
| Name = Upgrade U
| Cover = Upgrade U.jpg
| Caption =
| Type =
| Artist = [[Beyoncé]] featuring [[Jay-Z]]
| alt Artist =
| Album = [[B'Day]]
| Published =
| Released = [[12" single]], [[digital download]]
| track_no = 4
| Recorded = Sony Music Studios, [[New York City]]; 2006
| Genre = [[R&B]], [[Hip hop music|Hip hop]]
| Length = 4:32
| Writer = Beyoncé Knowles, Mk. Makeba, [[Sean Garrett]], [[Solange Knowles]], [[Angela Beyince]], [[Shawn Carter]], Willie Clarke, Clarence Reid
| Label = [[Columbia Records|Columbia]]
| Producer = Beyoncé Knowles, Cameron Wallace, [[Swizz Beatz]]
| Misc =
| Chart position =
* #5 ([[Germany]] R&B)
* #10 ([[Lithuania]])
* #11 ([[Hot R&B/Hip-Hop Songs]])
* #59 ([[U.S.]] [[Hot 100]])
{{Extra chronology
| Artist = [[Beyoncé Knowles|Beyoncé]]
| Type = singles
| Last single = "[[Irreplaceable]]" (2006)
| This single = "[[Upgrade U]]" (2006)
| Next single = "[[Listen (song)|Listen]]" (2006)
}}
{{Extra chronology
| Artist = [[Jay-Z]]
| Type = singles
| Last single = "[[Lost One]] (2006)
| This single = "Upgrade U" (2006)
| Next single = "[[Hollywood (Jay-Z song)|Hollywood]]" (2007)
}}
}}

"'''Upgrade U'''" is an [[R&B]] song written by [[Beyoncé Knowles]], [[Sean Garrett]], [[Solange Knowles]], [[Angela Beyince]], [[Jay-Z|Shawn "Jay-Z" Carter]], Mk. Makeba, Willie Clarke and Clarence Reid for Beyoncé's second solo album, ''[[B'Day]]'' (2006). It is her fourth collaboration with Jay-Z, who is featured on the song. The song samples [[Betty Wright]]'s "Girls Can't Do What the Guys Do", and was originally going to have featured [[T.I.]]. The song is about a relationship between a female and a male; Beyoncé sings that she can upgrade her man and introduce him to new things, improving his life style and reputation.
== Music video ==
[[Image:Upgrade_u_vid.jpg|200px|thumb|left|Beyoncé acting as Jay-Z in "Upgrade U".]]
The video was directed by Melina, who also directed videos such as Ludacris's Money Maker Video. The video premiered on [[February 28]] on [[106 & Park]], the same day as the video for her other release, [[Beautiful Liar]], which features [[Shakira]]. In the beginning, Beyoncé is seen mouthing the words of Jay-Z's lyrics, dressed in masculine, hip-hop style clothing. She is later seen singing in the trunk of and in the backseat of a [[Rolls-Royce (car)|Rolls Royce]]. During the choruses she she dances in a gold minidress in front of a group of male back-up dancers. She continues the Jay-Z imitation through his rapped verse, and halfway through it he appears to finish the rap himself. Beyoncé is seen amidst gold watches and jewelery, continuing the motif of luxury that is alluded to in the song. As of March 5th, 2007 the music video has peaked at #9 on BET's 106 & Park.

==Song References==
*[[Audemars Piguet]], a Swiss watchmaker
*[[Jacob the Jeweler]], a celebrity jeweler
*[[Cartier_SA|Cartier]], a jeweler and watch manufacturer
*[[Herm%C3%A8s]], a luxury goods company
*Lorraine Schwartz, a celebrity jeweler
*[[Ralph Lauren]] Purple Label, a higher-end division of the legendary designer's clothing line
*Natura Bisse Diamond Cream, diamond dust mixed with cream that costs $235 for only 1.7 ounces
*6 star pent suites, only a handful exist in the world such as Crown Macau in China and Dreams Los Cabos near San Jose del Cabo in Mexico
*The [[Amalfi Coast]], located in southern Italy. It's an easy trek to the islands of Capri, the Bay of Naples' Ischia and Procida
*[[Fendi]], a luxury goods company
*The Bloomberg Luxury Accommodation Group, located in South Africa and caters to Hollywood-millionaire types

==Charts==
The song gained popularity on R&B and hip hop radio stations in the U.S. after the release of ''B'Day'',<ref>Caulfield, Keith. [http://www.billboard.com/bbcom/ask_bb/article_display.jsp?vnu_content_id=1003525978 "Ask Billboard - Replacing Irreplaceable"]. ''[[Billboard (magazine)|Billboard]]''. [[December 29]] [[2006]]. Retrieved [[February 8]] [[2007]].</ref> and consequently it entered the U.S. [[Billboard Hot 100|''Billboard'' Hot 100]] and [[Hot R&B/Hip-Hop Songs]] charts. It debuted on the Hot 100 on [[November 9]] [[2006]] at number ninety-two and its current peak position is fifty-nine, and it has peaked at number eleven on the R&B/Hip-Hop chart.<ref>[http://www.billboard.com/bbcom/retrieve_chart_history.do?model.vnuArtistId=317670&model.vnuAlbumId=791335 "Beyoncé - Artist Chart History - Singles"]. ''[[Billboard (magazine)|Billboard]]''. Retrieved [[February 8]] [[2007]].</ref>

{| class="wikitable"
!align="left"|Chart
!align="center"|Peak position
|-
|align="left"|[[Media Control Charts|German Black Charts]]<ref>[http://www.trendcharts.de/dbc.html German Black Charts]. Trencharts.de. Retrieved [[February 14]], [[2007]].</ref>
|align="center"|5
|-
|align="left"|[[Lithuania Airplay Chart]]
|align="center"|10
|-
|align="left"|U.S. ''Billboard'' [[Hot 100]]
|align="center"|59
|-
|align="left"|U.S. ''Billboard'' [[Hot R&B/Hip-Hop Songs]]
|align="center"|11
|-
|}

== Credits and personnel ==
* Lead vocals: Beyoncé Knowles, Jay-Z
* [[Audio mixing|Mixed]] by Jason Goldstein
* Mixing assistance: Steve Tolle
* Recorded by Jim Caruana at Sony Music Studios, [[New York City]]
* Assisted by Rob Kinelski

== Formats and track listing ==
These are the formats and track listings of major releases of "Upgrade U".
{{col-begin}}
{{col-2}}
;12" single I<ref>[http://www.2-funky.co.uk/products/Soul-@-R&B/552697 Vinyl I]. 2FunkyRecords. Retrieved on [[February 14]], [[2007]].</ref>
# "Upgrade U" (album version) – 4:32
# "Upgrade U" (instrumental) - 4:32
# "Upgrade U" (album version - no rap) - 4:02
# "Upgrade U" (acapella) - 4:32
{{col-2}}
;12" single II<ref>[http://www.2-funky.co.uk/products/Soul-@-R&B/550176 Vinyl II]. 2FunkyRecords. Retrieved on [[February 14]], [[2007]].</ref>
# "Upgrade U" (album version) – 4:32
# "Creole" - 3:53
# "Lost Yo Mind" – 3:47
# "Back Up" - 3:27
{{col-end}}

'''Other Official Remixes''':

# "Upgrade U" (Original Version)(featuring. T.I.)
# "Upgrade U" (Beyonce's Rap Intro)

==Notes and references==
<references/>

*Reid, Shaheem and Cobbin-Wooten, Raslyn. [http://www.mtv.com/news/articles/1548533/20061219/jay_z.jhtml "Luxury Ties, Fancy Suites: A Guide To Beyoncé And Jay-Z's 'Upgrade U'"]. [[MTV News]]. [[December 20]] [[2006]].
*Lithuania Charts Company [http://www.blogas.lt/hitfm/205871/lietuvos-top-37.html "Lithuania Airplay Chart"].''MTV Baltics News''. [[February 16]] [[2007]].

{{Beyoncé Knowles}}
{{Jay-Z}}

[[Category:2006 songs]]
[[Category:Beyoncé songs]]
[[Category:Jay-Z songs]]

[[es:Upgrade U]]
[[pl:Upgrade U]]