Andy Warhol Pop Art Did Andy Warhol Have Any Kids?
Biography of Andy Warhol
Babyhood
Andy was the 3rd kid built-in to Czechoslovakian immigrant parents, Ondrej and Ulja (Julia) Warhola, in a working class neighborhood of Pittsburgh. He had two older brothers, John and Paul. As a kid, Andy was smart and artistic. His mother, a casual creative person herself, encouraged his creative urges by giving him his first camera at nine years old. Warhol was known to suffer from a nervous disorder that would ofttimes proceed him at home, and, during these long periods, he would heed to the radio and collect pictures of film stars around his bed. It was this exposure to current events at a immature age that he subsequently said shaped his obsession with popular culture and celebrities. When he was 14, his father passed away, leaving the family money to be specifically used towards higher learning for one of the boys. Information technology was decided by the family that Andy would benefit the well-nigh from a college teaching.
Early Training
After graduating from high school at the historic period of 16 in 1945, Warhol attended Carnegie Found of Technology (now Carnegie Mellon University), where he received formal training in pictorial blueprint. Soon after graduating, in 1949, he moved to New York Urban center, where he worked as a commercial illustrator. His starting time projection was for Glamour mag for an article entitled, "Success is a Job in New York." Throughout the 1950s Warhol connected his successful career in commercial illustration, working for several well-known magazines, such every bit Vogue, Harper's Boutique and The New Yorker. He also produced advertising and window displays for local New York retailers. His work with I. Miller & Sons, for which his whimsical blotted line advertisements were peculiarly noticed, gained him some local notoriety, even winning several awards from the Art Director's Society and the American Institute of Graphic Arts.
In the early 1950s, Andy shortened his proper noun from Warhola to Warhol, and decided to strike out on his own as a serious creative person. His feel and expertise in commercial art, combined with his immersion in American popular culture, influenced his well-nigh notable piece of work. In 1952, he exhibited Xv Drawings Based on the Writings of Truman Capote in his start individual show at the Hugo Gallery in New York. While exhibiting work in several venues around New York Urban center, he most notably exhibited at the Museum of Modernistic Art, where he participated in his first group show in 1956. Warhol took notice of new emerging artists, greatly admiring the work of Robert Rauschenberg and Jasper Johns, which inspired him to aggrandize his own artistic experimentation.
In 1960, Warhol began using advertisements and comic strips in his paintings. These works, examples of early Pop art, were characterized past more expressive and painterly styles that included clearly recognizable brushstrokes, and were loosely influenced by Abstruse Expressionism. However, subsequent works, such his Brillo Boxes (1964), would mark a direct rebellion against Abstract Expressionism, past almost completely removing whatsoever evidence of the artist'southward mitt.
Mature Period
In September 1960, later on moving to a townhouse at 1342 Lexington Avenue, on the Upper East Side of Manhattan, he began his almost prolific period. From having no dedicated studio space in his previous apartment, where he lived with his mother, he now had plenty of room to work. In 1962 he offered the Department of Existent Estate $150 a month to rent a nearby obsolete fire firm on East 87thursday Street. He was granted permission and used this space in conjunction with his Lexington Artery space until 1964.
Continuing with the theme of advertisements and comic strips, his paintings throughout the early part of the 1960s were based primarily on illustrated images from printed media and graphic design. To create his large-scale graphic canvases, Warhol used an opaque projector to enlarge the images onto a big sheet on the wall. Then, working freehand, he would trace the prototype with paint directly onto the canvas without a pencil tracing underneath. As a result, Warhol's works from early 1961 are mostly more painterly.
Tardily in 1961, Warhol started on his Campbell's Soup Can paintings. The series employed many different techniques, just nearly were created by projecting source images on to sheet, tracing them with a pencil, and so applying pigment. In this mode Warhol removed most signs of the artist'due south hand.
In 1962 Warhol started to explore silkscreening. This stencil process involved transferring an image on to a porous screen, then applying pigment or ink with a condom squeegee. This marked some other means of painting while removing traces of his manus; similar the stencil processes he had used to create the Campbell's Soup Tin can pictures, this also enabled him to echo the motif multiple times across the same image, producing a serial image suggestive of mass production. Often, he would outset ready down a layer of colors which would complement the stencilled image after it was practical.
His first silkscreened paintings were based on the forepart and back faces of dollar bills, and he went on to create several series of images of various consumer goods and commercial items using this method. He depicted shipping and handling labels, Coca-Cola bottles, coffee can labels, Brillo Soap box labels, matchbook covers, and cars. From autumn 1962 he also started to produce photo-silkscreen works, which involved transferring a photographic image on the porous silkscreens. His first was Baseball (1962), and those that followed ofttimes employed banal or shocking imagery derived from tabloid newspaper photographs of auto crashes and civil rights riots, coin, and consumer household products.
In 1964 Warhol moved to 231 East 47th Street, calling it "The Factory." Having achieved moderate success as an artist by this point, he was able to employ several assistants to help him execute his work. This marked a turning point in his career. Now, with the help of his assistants, he could more decisively remove his hand from the sail and create repetitive, mass-produced images that would appear empty of meaning and beg the question, "What makes art, fine art?" This was an thought first introduced by Marcel Duchamp, whom Warhol admired.
Warhol had a lifelong fascination with Hollywood, demonstrated past his series of iconic images of celebrities such equally Marilyn Monroe and Elizabeth Taylor. He too expanded his medium into installations, most notably at the Stable Gallery in New York in 1964, replicating Brillo boxes in their actual size and and so screenprinting their characterization designs onto blocks fabricated of plywood.
Wanting to continue his exploration of dissimilar mediums, Warhol began experimenting with film in 1963. Ii years later, after a trip to Paris for an exhibition of his work, he appear that he would exist retiring from painting to focus exclusively on film. Although he never completely followed through with this intention, he did produce many films, nearly starring those whom he chosen the Warholstars, an eccentric and eclectic group of friends who frequented the Factory and were known for their unconventional lifestyle.
He created approximately 600 films between 1963 and 1976, ranging in length from a few minutes to 24 hours. He also developed a project chosen The Exploding Plastic Inevitable, or EPI, in 1967. The EPI was a multi-media production combining The Velvet Surreptitious rock band with projections of film, calorie-free and dance, culminating in a sensory experience of Operation Art. Warhol had also been self-publishing creative person's books since the 1950s, just his beginning mass produced book, Andy Warhol'southward Index, was published in 1967. He afterward published several other books, and founded Interview Magazine with his friend Gerard Malanga in 1969. The magazine is dedicated to celebrities and is still in production today.
Subsequently an attempt on his life in 1968, past acquaintance and radical feminist, Valerie Solanas, he decided to altitude himself from his unconventional entourage. This marked the finish of the 1960s Factory scene. Warhol subsequently sought out companionship in New York loftier society, and throughout most of the 1970s his work consisted of commissioned portraits derived from printed Polaroid photographs. The virtually notable exception to this is his famous Mao series, which was washed every bit a comment on President Richard Nixon's visit to China. Lacking the glamour and commercial entreatment of his earlier portraits, critics saw Warhol as prostituting his creative talent, and viewed this afterwards period every bit ane of decline. However, Warhol saw financial success every bit an important goal. At this point, he had made the successful shift from commercial artist to business creative person.
Late Years and Expiry
In the late 1970s and 1980s, Warhol made a return to painting, and produced works that oft verged on brainchild. His Oxidation Painting series, which were made by urinating on a canvas of copper pigment, echoed the immediacy of the Abstruse Expressionists and the rawness of Jackson Pollock's drip paintings. By the 1980s, Warhol had regained much of his critical notoriety, due in office to his collaboration with Jean-Michel Basquiat and Francesco Clemente, two much younger and more cutting-edge artists. And, in the final years of Warhol'south life, he turned to religious subjects; his version of Leonardo da Vinci'due south Final Supper is peculiarly renowned. In these works, Warhol melded the sacred and the irreverent past juxtaposing enlarged logos of brands against images of Christ and his Apostles.
After suffering postoperative complications from a routine gall bladder procedure, Warhol died on Feb 22, 1987 at the age of 58. He was buried in his hometown of Pittsburgh. His memorial service was held in St. Patrick'southward Cathedral in New York Metropolis and attended by more than 2,000 people.
The Legacy of Andy Warhol
Andy Warhol was one of the nigh influential artists of the 2nd half of the 20th century, creating some of the most recognizable images ever produced. Challenging the idealist visions and personal emotions conveyed by abstraction, Warhol embraced popular culture and commercial processes to produce work that appealed to the general public. He was one of the founding fathers of the Popular art motion, expanding the ideas of Duchamp by challenging the very definition of art. His creative risks and constant experimentation with subjects and media made him a pioneer in almost all forms of visual art. His unconventional sense of way and his celebrity entourage helped him reach the mega-star status to which he aspired.
Warhol'due south will dictated that his estate fund the Warhol Foundation for the advocacy of the visual arts, which was subsequently created later that year. Through the joint efforts of The Andy Warhol Foundation for the Visual Arts, Carnegie Museums of Pittsburgh, Carnegie Institute, and Dia Center for the Arts the Warhol Museum was opened in Pittsburgh, Pennsylvania in 1994, housing a large collection of Warhol's work.
Source: https://www.theartstory.org/artist/warhol-andy/life-and-legacy/
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