Campbell's Soup Cans
Campbell's Soup Cans | |
---|---|
Synthetic polymer paint on canvas | |
Dimensions | 20 by 16 inches (51 cm × 41 cm) each for 32 canvases |
Location | Museum of Modern Art. Acquired from Irving Blum in 1996, New York (32 canvas series displayed by year of introduction) |
Accession | 476.1996.1–32 |
Campbell's Soup Cans
Warhol was a commercial illustrator before embarking on painting. Campbell's Soup Cans was shown on July 9, 1962, in Warhol's first one-man gallery exhibition[5][6] at the Ferus Gallery of Los Angeles, California, curated by Irving Blum. The exhibition marked the West Coast debut of pop art.[7] Blum owned and possessed the painting series until he loaned it to the National Gallery of Art for several years in 1987 and then sold it to the Museum of Modern Art in 1996. The subject matter initially caused offense, in part for its affront to the technique and philosophy of the earlier art movement of abstract expressionism. Warhol's motives as an artist were questioned. Warhol's association with the subject led to his name becoming synonymous with the Campbell's Soup Can paintings.
Warhol produced a wide variety of 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. After considering litigation, the
There is some confusion because sometimes the later screen print sets are referred to as if they are the Campbell's Soup Can set, and sometimes the original set of painting canvases is referred to as if it is a set of screenprints. In addition, there is ongoing production and sale of unauthorized screen prints, of what is legally Warhol's intellectual property, as a result of a falling out with former employees. There are also varied explanations for this theme. The popular explanation of his choice of the Campbell's Soup cans theme is that one artistic acquaintance inspired the original series with a suggestion that brought him closer to his roots. There are other artists who are said to have also influenced the pursuit of this theme.
Early career
New York art scene
Warhol arrived in New York City in 1949, directly from the
Pop art
In 1960, Warhol began producing his first canvases, which he based on comic strip subjects.
In 1961, Warhol was wavering between the action painting of abstract expressionisms, with its use of drips and brushstrokes, and the more direct style of pop art. Most of his early soup-can work tended toward the latter. He experimented with hand painting and spray painting through a stencil cutout, as well as rubber stamping images. In January 1962, he began stamping with engraved art gum erasers onto canvas and paper, using acrylic paint.[17]
Some sources mistakenly claim that the original set of 32 Campbell's Soup cans was a set of
Warhol was able to get exposure for his comic strip (and newspaper ad) paintings by using them as a backdrop for his Bonwit Teller window design in April 1961.[26] Leo Castelli visited Warhol's gallery in 1961 and said that the work he saw there was too similar to Lichtenstein's,[27][28] although Warhol's and Lichtenstein's comic artwork differed in subject matter and techniques (e.g., Warhol's comic-strip figures were humorous pop-culture caricatures, such as of Popeye, while Lichtenstein's were generally of stereotypical hero and heroines and were inspired by comic strips devoted to adventure and romance).[29] Castelli chose not to represent both artists at that time. (He would, in November 1964, be exhibiting Warhol, his Flower Paintings, and then Warhol again in 1966.[30]) In February 1962, Lichtenstein displayed at a sold-out exhibition of cartoon pictures at Castelli's eponymous Leo Castelli Gallery, ending the possibility of Warhol exhibiting his own cartoon paintings.[31] 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 irritated Warhol, who felt it jeopardized his own food-related works.[32] Warhol was considering returning to the Bodley gallery, but Bodley's director did not like his pop artworks.[16] In 1961, Warhol was offered a three-man show, by Allan Stone at his 18 East 82nd Street Gallery, with Rosenquist and Robert Indiana; but all three were insulted by this proposition.[33]
By March 1962, art critic David Bourdon had seen some of Warhol's soup cans illustrated in a newsletter visited his social space/studio.[34] Irving Blum was the first dealer to show Warhol's soup can paintings.[5] In December 1961, he happened to be visiting Warhol at his 1342 Lexington Avenue apartment/art studio[35][36] and then, in May 1962, at a time when Warhol was being featured in a May 11, 1962, Time magazine article "The Slice-of-Cake School",[37] along with Lichtenstein, Rosenquist, and Thiebaud.[38] That article included an April 1962 photo of Warhol eating Campbell's Soup straight out of an upside down can while standing next to a human-sized canvas of a Campbell's Soup Can painting.[39][40] Warhol, who was interviewed on April 24,[40] was the only artist whose photograph actually appeared in the article, which is indicative of his knack for manipulating the mass media.[41] He was also a bit of a surprise choice over Claes Oldenburg, Jim Dine, Tom Wesselmann, and George Segal, who had already presented pop art shows that had been reviewed.[40] Blum saw dozens of Campbell's Soup can variations, including a grid of One-Hundred Soup Cans that day.[15] By the time of Blum's May 1962 visit, Warhol was working on his 16th individual realistic soup can portrait of the 32-can series; and the May Time article noted that he was "currently occupied with a series of 'portraits' of Camplell's soup cans in living colour", with Warhol quoted as saying, "I just paint things I always thought were beautiful, things you use every day and never think about...I'm working on soup...I just do it because I like it."[4] Three of the Campbell's Soup Can paintings were laid out on Warhol's parquet floor.[42] Blum, who knew that some of Warhol's larger Campbell's Soup can works were already being marketed by New York City art dealers,[42] was shocked that Warhol had no 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.[5][6] 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 pop art.[7] Blum also used the lure of Hollywood celebrity to entice Warhol to exhibit out west, despite Warhol's interest in the New York fine arts scene.[43] Warhol's fans Dennis Hopper and Brooke Hayward (Hopper's wife at the time) held a welcoming party for the event to help Warhol meet West Coast artists and celebrities.[44][45] A letter from Blum to Warhol dated June 9, 1962, set the exhibition opening for July 9.[46]
Premiere
Warhol sent Blum thirty-two 20-by-16-inch (510 mm × 410 mm) canvases of Campbell's Soup can portraits, each representing a particular variety of the Campbell's Soup flavors available at the time.[1] A postcard dated June 26, 1962, sent by Irving Blum states, "32 ptgs arrived safely and look beautiful. strongly advise maintaining a low price level during initial exposure here".[47] 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.[48] If they could become lasting, they would recall the time in 1962 when Campbell's had exactly 32 varieties. "So it kind of marks a time", according to Warhol.[49]
The Ferus
The exhibition closed on August 4, 1962, the day before Marilyn Monroe's death. Warhol went on to purchase a Monroe publicity still from the film Niagara, which he later cropped and used to create one of his most well-known works: his painting of Marilyn. Although Warhol continued painting other pop art, including Martinson's coffee cans, Coca-Cola bottles, S&H Green Stamps, and other Campbell's Soup cans, he soon became known to many as the artist who painted celebrities. In October 1963, he returned to Blum's gallery to exhibit Elvis and Liz.[5]
Blum had to buy back a total of 5 or 6 paintings, depending on the source, before paying Warhol for the complete set.[59][61] He retained possession of the work for over 25 years, generally keeping them in the original special slotted crate, except for the occasional home display in his own dining room.[43]
Although the original exhibition of the set presented them all at the same height on various walls, the Museum of Modern Art (MoMA) generally presented them in a grid on a single wall (see main image above), except for the 2015 Warhol exhibition that it hosted.[62] Since Blum was not able to hang the paintings in a straight line with the proper spacing and perspective, he installed shelves to make the exhibition spacing and placement easier.[63] 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), for the display from their permanent collection, reflects the chronological order in which the varieties were introduced by the Campbell Soup Company, beginning with Tomato, which debuted in 1897, in the upper left.[1] By April 2011, the curators at MoMA had reordered the varieties, moving Clam Chowder to the upper left and Tomato to the bottom of the four rows.[1] Blum had installed them in a 4-row grid when displayed in his own dining room prior to his making them available them for public display.[43]
Subsequent publicity
In August, Warhol's pop art had its first museum presentation in a survey show at the Wadsworth Atheneum in Hartford, Connecticut. This show resulted in Warhol's first fine-art review in The New York Times. Regarding some of Warhol's Campbell's Soup can paintings, the review stated, "These are no mere unruly incidents but big steps towards art that is socially to the point."[64]
Although an early review announced that Warhol was to have a gallery arrangement with Martha Jackson in New York (along with Willem de Kooning, Adolph Gottlieb, Oldenburg, and Dine), Jackson sent word that she was canceling a promised December exhibition, noting "The introduction of your paintings has already had very bad repercussions for us."[65] News of her cancellation came before the Ferus exhibition ended.[60] Even though she cancelled his exhibition, her assistant John Weber sold ten Warhol paintings that she had taken on consignment.[66]
In August, when
After Jackson cast Warhol aside, Emile de Antonio brought Warhol and his ex-girlfriend, Eleanor Ward, together. After a bit of encouragement and drinking, Ward said that if Warhol would paint her a two-dollar bill she would give him a show.[69] Warhol's first New York solo Pop exhibit opened at Ward's Stable Gallery on November 6, 1962.[70] The exhibit included Marilyn Diptych, but no soup cans were on display, even though they were on guest badges.[71] Warhol's invitations to the exhibit included a quote from a college art student's perception of the message Warhol's soup can paintings conveyed: "I love soup, and I love it when other people love soup too, because then we can all love it together and love each other at the same time."[72] Warhol earned important praise for this exhibition, including from Michael Fried, who had been harsh with him 12 years earlier.[70]
Campbell's Soup Company
Can and label history
What became the Campbell's Soup Company was started in 1869 by
Relation to Warhol's art
Although it would be widely announced in the May 1962 issue of Time magazine,
Although Campbell's never pursued litigation against Warhol for his art,
Inspiration
Campbell's Soup Cans is considered Warhol's signature work.[90] For about a year, he made paintings from photographs, by his one-time love interest Edward Wallowitch, taken of soup cans in every condition and from every angle. During this time, he mixed his media (oil- and water-based paints) and cut stencils to help pursue realism.[91] Wallowitch's photographs served as the models for the tracing and copying that resulted in many of his 1961 and 1962 Campbell's Soup cans and dollar bill paintings and drawings.[92] In total, Warhol painted about 50 Campbell's Soup canvases from November 1961 to 1962. The Andy Warhol Catalogue Raisonné (edited by Georg Frei and Neil Printz) lists the 32-canvas main set, 3 large grid-style paintings (1 of 200 cans and 2 of 100 cans), and about a dozen-and-a-half still lifes.[93] Although Warhol had been trained in art school to paint still-life fruit bowls on a table, he longed to paint his favorite variety of Campbell's Soup (Tomato), remembered from the pantry of his childhood home. Warhol is quoted as saying "Many an afternoon at lunchtime Mom would open a can of Campbell's for me, because that's all we could afford, I love it to this day."[48]
Several
By one account, 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."[46][100] Another account holds that Warhol instructed his mother to buy a can of each of the 32 varieties of Campbell's Soup from the local A&P. He began with a series of drawings and then made color slides of each, to be projected onto a screen. He tinkered with dimensions and how best to combine the varieties. However, rather than combine them, as was common with supermarket food imagery of the time, he decided to create, with as much realism as he could, individual portraits against a white background.[48]
The soup is said to have reminded Warhol of his mother, Julia, who served it to him regularly while raising him during the
In an interview for London's
- 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.[46]
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."[105] He was thought to have focused on them because they composed a daily dietary staple.[106] Others observed that Warhol merely painted things he held close to his heart. He enjoyed eating Campbell's soup, had a taste for Coca-Cola, loved money, and admired movie stars. 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.[107]
Warhol did not choose the cans because of any business relationship 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."[108] 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.[109] They even commissioned a canvas.[110]
In 1961, Warhol painted a single "Campbell's Soup Can" on a 20-by-15-inch (51 cm × 38 cm) canvas and gave it to his brother Paul to celebrate the birth of Paul's son Marty. Each of Paul's children was able to exhibit the painting at school. Eventually, the family decided to auction off the work, on November 13, 2002, at Christie's in New York. This work is regarded as one of the inspirations for the later, well-known set.[111]
Artist colleagues
Willem de Kooning, who was among the artworld's elite by the 1960s, was among the artists who used the word soup metaphorically in reference to abstract expressionism, saying "Everything is already in art, Like a big bowl of soup. Everything is in there already...", while other New York artists used the word slangily as a way to discuss their art.[112]
According to Gopnik, there is scholarly opinion that Warhol's repetition of nearly identical Campbell's Soup Cans could be linked to Yves Klein's identical blue monochrome paintings. Gopnik notes that Klein had invited Warhol to his early 1962 wedding to Rotraut Klein-Moquay, and Warhol's work had incorporated International Klein Blue.[113]
In May 1961, Warhol purchased 6 miniature versions of Frank Stella's Benjamin Moore painting series. In this series, Stella represented the entire Benjamin Moore product line with a painting for each color. Scherman and Dalton feel this could have partly served as an inspiration for the complete set of Campbell's Soup cans.[114]
Interpretation
Warhol had a positive view of ordinary culture and felt that the
Warhol's pop-art work differed from serial works by artists such as
Contrasting against
Warhol clearly changed the concept of art appreciation. Instead of harmonious three-dimensional arrangements of objects, he chose mechanical derivatives of commercial illustration, with an emphasis on the packaging.[108] His variations of multiple soup cans, for example, made the process of repetition an appreciated technique: "If you take a Campbell's Soup can and repeat it fifty times, you are not interested in the retinal image. According to Marcel Duchamp, what interests you is the concept that wants to put fifty Campbell's Soup cans on a canvas."[121] The regimented, multiple-can depictions almost become an abstraction whose details are less important than the panorama.[122] In a sense, the representation was more important than that which was represented.[120] Warhol's interest in machinelike creation, during his early pop-art days, was misunderstood by those in the art world, whose value system was threatened by mechanization.[123]
In Europe, audiences had a very different take on Warhol's work. Many perceived it as a subversive and Marxist satire on American capitalism.[108] If not subversive, it was at least considered a Marxist critique of pop culture.[124] Given Warhol's apolitical outlook in general, this is not likely the intended message. According to writer David Bourdon, Warhol's pop art may have been nothing more than an attempt to attract attention to his work.[108] Gopnik describes Warhol's presentation as objective and unblinking with no promotional intent.[125]
Variations
Campbell's Soup I and Campbell's Soup Cans II
In late 1961, Warhol began to learn the process of silkscreening from Floriano Vecchi,[16] 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 that 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 the open spaces that are left are where the paint will appear). Usually, the ink is rolled across the medium so that it passes through the silk and not the glue.[126] After the 1961 Christmas season ended, Vecchi, over the course of multiple visits, advised Warhol on how to refine his pigments and to use better squeegee techniques.[16] In 1962, Warhol's silk-screen printmaking techniques were also influenced by Manhattan graphic-art business owner Max Arthur Cohn.[127][128] It took Warhol until August 1962 to refine his technique of applying the paint with a rubber squeegee through the porous screen.[129] Campbell's Soup cans were among Warhol's first silkscreen productions; the first were 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.[58] Within 3 months, he was mass-producing silkscreens on various subjects, including Campbell's Soup cans.[130] In 1967, Warhol created Factory Additions, a company for printmaking and publishing.[131] According to Christopher Andreae of The Christian Science Monitor, Warhol produced two different 10-screenprint sets of Campbell's Soup cans in volumes of 250, one in 1968 and one in 1969.[132]
On April 7, 2016, seven Campbell's Soup Cans prints were stolen from the Springfield Art Museum. The
When the
Colored soup cans
In 1965, Warhol revisited the Campbell's Soup cans theme while arbitrarily replacing the original red and white colors with a wider variety of hues. He produced a set of 20, 3 by 2 feet (91 cm × 61 cm) canvases, using either four or five colors in addition to black and, in some instances, white. This set is regarded as significant enough to tour as its own art exhibition. Ken Johnson, of The New York Times, noted that, in contrast to Warhol's usual "mechanical repetition", each painting was remarkable for its uniqueness.[149] 19 of the 20 were still in existence when 12 of them were presented in an exhibition in 2011.[150] At some point prior to 2004, the Museum of Modern Art had one of these.[151]
Unauthorized versions
In 1970, Warhol entered into a collaboration in which he facilitated exact duplications of some of his 1960s works by providing the photo negatives, precise color codes, screens, and film matrixes for European screenprint production. Warhol signed and numbered one edition of 250 before subsequent, unauthorized, unsigned versions were produced.[152][153] The unauthorized works were the result of a falling out between Warhol and some of his New York City studio employees who went to Brussels where they produced work stamped with "Sunday B Morning" and "Add Your Own Signature Here".[154] Some of the unauthorized productions bore the markings, "This is not by me, Andy Warhol".[153] Art galleries and dealers market "Sunday B Morning" reprints of several screenprint works, including those from the Campbell's Soup can sets.[155]
Other variations
Warhol followed the success of his original series with several related works incorporating the same theme of Campbell's Soup cans. By 1982 Warhol had painted over 100 renderings of Campbell's Soup cans.
According to the mobile audio tour at The Broad, Warhol produced 6 torn-label Campbell's Soup can paintings.[159] Two of these have resulted in record-setting sales. By 1970, Warhol established the record auction price for a painting by a living American artist with a $60,000 ($470746 in 2023) 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).[9] The seller was a young Peter Brant, according to art dealer James Mayor.[160] By some accounts this was an arranged sale rather than an auction.[161] This record was broken a few months later by Warhol's rival for the art world's attention and approval, Lichtenstein, who sold a depiction of a giant brush stroke, Big Painting No. 6 (1965), for $75,000 ($588432 in 2023).[162]
In May 2006, Warhol's Small Torn Campbell Soup Can (Pepper Pot) (1962) sold for $11,776,000 ($17.8 million in 2023) and set the current
When Warhol (with Lichtenstein, Wesselmann, and Mary Inman) exhibited at The American Supermarket exhibition group show at the Bianchini Gallery in 1964, he presented both Campbell's Soup cans screen prints and autographed cans of Campbell's Soup, which he referred to as his "Duchamp number".[169] Warhol signed several cases of soup cans for the exhibition.[170] When Warhol was barraged by fans for soup can signatures, he or his assistants would put Warhol's signature on cans.[171]
200 Campbell's Soup Cans (1962, acrylic on canvas, 72 by 100 inches (182.9 cm × 254.0 cm)), 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 in conjunction with immediate predecessors such as Jasper Johns and the successor movements of Minimal and Conceptual art.[172] It was created as Warhol was developing skills to replace painting and drawing by hand, and he produced the repetitive series with stamps and stencils.[173] Its medium was synthetic polymer paint and silkscreen ink on canvas, according to one source.[174] The move to stamps and stencils reduced the flaws, and the subsequent move to silkscreen resulted in a process whose only variations were due to inconsistent mechanics: "leftover ink caking on the bottom of the screens, irregular seepage through the screens, or screens placed imprecisely and inconsistently on the canvas".[23] The earliest soup can painting seems to be Campbell's Soup Can (Tomato Rice), a 1961 ink, tempera, crayon, and oil canvas.[175]
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.[108] 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.[176]
The great 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 genre and media have created a need for the Andy Warhol Art Authentication Board to certify the authenticity of works by Warhol.[177]
The
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 produced numerous pencil drawings of the subject.
Irving Blum made the original thirty-two canvases available to the public through an arrangement with the
See also
Notes
- ^ a b c d e f "The Collection". The Museum of Modern Art. 2007. Retrieved March 9, 2007.
- ^ Frazier, p. 708.
- ^ Sherman/Dalton, pp. 73–74
- ^ a b c Bockris (1997), p. 148
- ^ a b c d Angell, p. 38.
- ^ a b Livingstone, p. 32.
- ^ a b Lippard, p. 158.
- ^ a b c Stokstad, p. 1130.
- ^ a b Bourdon p. 307.
- ^ a b Livingstone, p. 31.
- ^ Watson, p. 25.
- ^ Watson, pp. 27–28.
- ^ Watson, pp. 26–27.
- ^ Harrison and Wood, p. 730.
- ^ a b Bourdon, p. 109.
- ^ a b c d Watson, p. 79.
- ^ a b Scherman/Dalton, p. 89–90.
- ^ Danto, pp. 33-4.
- ^ ProQuest 2382993664. Retrieved September 17, 2023.
- ^ "Andy Warhol, Campbell's Soup II, 1969". Museum of Modern Art. Retrieved September 19, 2023.
- ^ "Andy Warhol, Campbell's Soup I, 1968". Museum of Modern Art. Retrieved October 2, 2023.
- ^ a b Dean, Martin (March 13, 2018). "The Story of Andy Warhol's 'Campbell's Soup Cans'". Sotheby's. Retrieved September 19, 2023.
- ^ a b Flatley, p. 101.
- ^ Danto, p. 81.
- ^ Danto, p. 52.
- ^ Shore, p. 26
- ^ Watson, pp. 74–75.
- ^ Angell, p. 84.
- ^ Angell, p. 86.
- ^ Sylvester, p. 386.
- ^ Bourdon, p. 102.
- ^ Bourdon, pp. 102–103.
- ^ Bourdon, p. 100.
- ^ Bockris (1997), p. 145
- ^ Reder, Hillary. "Serial & Singular: Andy Warhol's Campbell's Soup Cans". Museum of Modern Art. Retrieved September 20, 2023.
- ^ Scherman/Dalton, p. 87
- ^ a b "The Slice-of-Cake School". Time. Vol. 79, no. 19. May 11, 1962. p. 52. Retrieved December 25, 2013.
- ^ Watson p. 79–80.
- ^ Flatley, pp. 2-3.
- ^ a b c Scherman/Dalton, p. 101.
- ^ a b Bourdon, p. 110.
- ^ a b Gopnik, pp. 249–250.
- ^ a b c d e Rozzo, Mark (December 2018). "How the Campbell's Soup Paintings Became Andy Warhol's Meal Ticket". Vanity Fair. Retrieved September 20, 2022.
- ^ Angell, p. 101.
- ProQuest 432078113. Retrieved September 19, 2023.
- ^ a b c d Comenas, Gary. "Warholstars: The Origin of the Soup Cans". warholstars.org. Retrieved January 4, 2007.
- ISBN 9780066212432.
- ^ a b c Bockris (1997). p. 144
- ^ Gopnik, p. 260.
- ^ Bockris (1989), p. 120.
- ^ a b Gopnik, p. 259.
- ^ Archer, p. 14.
- ^ a b Watson p. 80.
- ^ Bourdon, p. 120.
- ^ a b Scherman/Dalton, p. 120.
- ^ Bourdon, p. 87.
- ^ Gopnik, p. 261.
- ^ a b Bourdon, p. 123.
- ^ a b c d Gopnik, p. 262
- ^ a b Watson pp. 80–81.
- ^ a b c Calleja, Bradley (July 29, 2022). "Art Insights: Investing in Soup". Altan Insights. Retrieved September 19, 2023.
- ^ Johnson, Ken (May 8, 2015). "Review: A '60s View of Warhol's Soup Cans, at MoMA". The New York Times. Retrieved September 19, 2023.
- ^ Gopnik, p. 258.
- ^ Gopnik, pp. 274–275.
- ^ Gopnik, p. 263.
- ^ Scherman/Dalton, p. 93.
- ^ a b c Gopnik, pp. 275–276.
- ^ Scherman/Dalton, p. 129
- ^ Gopnik, pp. 263-264.
- ^ a b Gopnik, pp. 280–281.
- ^ Gopnik, p. 283.
- ^ Flatley, p. 15.
- ^ ISBN 0-7385-1058-0.
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- ISBN 978-0-7864-5176-0. Retrieved March 1, 2023.
- ISBN 0-312-34156-3.
The Campbell's Soup Company was begun when Joseph Campbell, a fruit merchant, and Abram Anderson, an icebox manufacturer, ... Arthur Dorance and Joseph Campbell then formed a new company called the Joseph Campbell Preserve Company. ...
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- ^ Gopnik, p. 242.
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- ^ Sherman/Dalton, p. 27.
- ^ Scherman/Dalton, p. 77.
- ^ a b Gopnik, p. 227.
- ^ Gopnik, p. 189.
- ^ a b Sherman/Dalton, pp. 74–75
- ^ a b c Marcade p. 28.
- ^ Scherman/Dalton, p. 73.
- ^ Shore, p. 27
- ^ Harrison and Wood, p. 732. Republished from Swenson, G. R., "What is Pop Art? Interviews with Eight Painters (Part I)," ARTnews, New York, November 7, 1963, reprinted in John Russell and Suzi Gabik (eds.), Pop Art Redefined, London, 1969, pp. 116–119.
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- ^ Gopnik, p. 6.
- ^ Gopnik, p. 7.
- ^ Gopnik, p. 228
- ^ Comenas, Gary (December 1, 2002). "Warholstars". New York Times. Retrieved December 17, 2006.
- ^ Faerna, p. 20.
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- ^ Scherman/Dalton, p. 57.
- ^ Random House Library of Painting and Sculpture Volume 4, p. 187.
- ^ a b c Warin, Vol 32, p. 862.
- ^ Vaughan, Vol 5., p. 82.
- ^ a b Bourdon, p. 96.
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