What Andy Warhol Self Taught of Went to School for Art

Biography of Andy Warhol

Childhood

Andy was the 3rd child born to Czechoslovakian immigrant parents, Ondrej and Ulja (Julia) Warhola, in a working class neighborhood of Pittsburgh. He had 2 older brothers, John and Paul. As a child, Andy was smart and artistic. His mother, a coincidental artist herself, encouraged his artistic urges by giving him his first camera at 9 years sometime. Warhol was known to suffer from a nervous disorder that would oft keep him at abode, and, during these long periods, he would listen to the radio and collect pictures of motion-picture show stars around his bed. Information technology was this exposure to current events at a young historic period that he later said shaped his obsession with pop civilisation and celebrities. When he was fourteen, his father passed away, leaving the family money to be specifically used towards higher learning for one of the boys. It was decided by the family unit that Andy would benefit the most from a higher education.

Early Training

Later graduating from high school at the age of 16 in 1945, Warhol attended Carnegie Institute of Engineering (now Carnegie Mellon University), where he received formal training in pictorial design. Shortly afterwards graduating, in 1949, he moved to New York City, where he worked as a commercial illustrator. His offset project was for Glamour magazine for an commodity entitled, "Success is a Task in New York." Throughout the 1950s Warhol continued his successful career in commercial illustration, working for several well-known magazines, such as Vogue, Harper's Bazaar 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 particularly noticed, gained him some local notoriety, fifty-fifty winning several awards from the Art Manager's Club and the American Institute of Graphic Arts.

In the early 1950s, Andy shortened his name 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 most notable work. In 1952, he exhibited 15 Drawings Based on the Writings of Truman Capote in his first individual prove at the Hugo Gallery in New York. While exhibiting piece of work in several venues around New York City, he most notably exhibited at the Museum of Modernistic Art, where he participated in his outset group show in 1956. Warhol took discover of new emerging artists, profoundly admiring the work of Robert Rauschenberg and Jasper Johns, which inspired him to aggrandize his own creative experimentation.

In 1960, Warhol began using advertisements and comic strips in his paintings. These works, examples of early Pop fine art, were characterized by more expressive and painterly styles that included clearly recognizable brushstrokes, and were loosely influenced by Abstract Expressionism. All the same, subsequent works, such his Brillo Boxes (1964), would mark a direct rebellion against Abstract Expressionism, by almost completely removing any evidence of the artist's hand.

Mature Period

In September 1960, after moving to a townhouse at 1342 Lexington Avenue, on the Upper East Side of Manhattan, he began his about prolific menstruation. From having no defended studio space in his previous flat, where he lived with his mother, he now had enough of room to piece of work. In 1962 he offered the Department of Real Estate $150 a calendar month to hire a nearby obsolete fire firm on East 87^th 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 on office of the 1960s were based primarily on illustrated images from printed media and graphic design. To create his large-calibration 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 image with paint directly onto the canvas without a pencil tracing underneath. As a effect, Warhol'due south works from early 1961 are generally more than painterly.

Late in 1961, Warhol started on his Campbell's Soup Tin can paintings. The series employed many dissimilar techniques, only most were created by projecting source images on to sheet, tracing them with a pencil, and and so applying paint. In this manner Warhol removed most signs of the artist's hand.

In 1962 Warhol started to explore silkscreening. This stencil process involved transferring an paradigm on to a porous screen, then applying paint or ink with a safety duster. This marked another means of painting while removing traces of his mitt; like the stencil processes he had used to create the Campbell'southward Soup Can pictures, this besides enabled him to echo the motif multiple times beyond the same prototype, producing a serial paradigm suggestive of mass production. Oftentimes, he would first set down a layer of colors which would complement the stencilled paradigm subsequently information technology was practical.

His showtime silkscreened paintings were based on the front and back faces of dollar bills, and he went on to create several series of images of diverse consumer appurtenances 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 often employed bland or shocking imagery derived from tabloid newspaper photographs of automobile crashes and civil rights riots, money, and consumer household products.

In 1964 Warhol moved to 231 East 47^th Street, calling information technology "The Mill." Having accomplished moderate success every bit an artist by this point, he was able to utilize several assistants to help him execute his work. This marked a turning point in his career. Now, with the help of his administration, he could more decisively remove his hand from the canvas and create repetitive, mass-produced images that would appear empty of pregnant and beg the question, "What makes fine art, art?" This was an idea get-go introduced by Marcel Duchamp, whom Warhol admired.

Warhol had a lifelong fascination with Hollywood, demonstrated past his serial of iconic images of celebrities such as Marilyn Monroe and Elizabeth Taylor. He besides expanded his medium into installations, about notably at the Stable Gallery in New York in 1964, replicating Brillo boxes in their actual size and so screenprinting their label designs onto blocks made of plywood.

Wanting to go on his exploration of unlike mediums, Warhol began experimenting with picture in 1963. Ii years subsequently, after a trip to Paris for an exhibition of his work, he appear that he would be retiring from painting to focus exclusively on moving picture. Although he never completely followed through with this intention, he did produce many films, nearly starring those whom he called the Warholstars, an eccentric and eclectic group of friends who frequented the Mill 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 projection called The Exploding Plastic Inevitable, or EPI, in 1967. The EPI was a multi-media production combining The Velvet Underground rock band with projections of film, light and dance, culminating in a sensory experience of Performance Art. Warhol had likewise been self-publishing creative person'southward books since the 1950s, but his first mass produced book, Andy Warhol's Alphabetize, was published in 1967. He later on published several other books, and founded Interview Mag with his friend Gerard Malanga in 1969. The magazine is dedicated to celebrities and is however in production today.

After an attempt on his life in 1968, by acquaintance and radical feminist, Valerie Solanas, he decided to altitude himself from his unconventional entourage. This marked the stop of the 1960s Mill 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 most notable exception to this is his famous Mao series, which was done every bit a comment on President Richard Nixon's visit to Prc. Defective the glamour and commercial appeal of his before portraits, critics saw Warhol as prostituting his artistic talent, and viewed this later period equally ane of decline. However, Warhol saw financial success equally an important goal. At this signal, he had fabricated the successful shift from commercial artist to business organization creative person.

Late Years and Expiry

In the tardily 1970s and 1980s, Warhol made a return to painting, and produced works that often verged on abstraction. His Oxidation Painting serial, which were made by urinating on a sail of copper paint, echoed the immediacy of the Abstruse Expressionists and the rawness of Jackson Pollock's drip paintings. Past the 1980s, Warhol had regained much of his critical notoriety, due in office to his collaboration with Jean-Michel Basquiat and Francesco Clemente, ii much younger and more cut-edge artists. And, in the final years of Warhol's life, he turned to religious subjects; his version of Leonardo da Vinci'southward Last Supper is particularly 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 historic period of 58. He was cached in his hometown of Pittsburgh. His memorial service was held in St. Patrick'due south Cathedral in New York City and attended by more 2,000 people.

The Legacy of Andy Warhol

Andy Warhol was 1 of the near influential artists of the second half of the 20^th century, creating some of the most recognizable images ever produced. Challenging the idealist visions and personal emotions conveyed past abstraction, Warhol embraced popular culture and commercial processes to produce work that appealed to the general public. He was i of the founding fathers of the Pop art movement, expanding the ideas of Duchamp by challenging the very definition of art. His artistic risks and constant experimentation with subjects and media made him a pioneer in nearly all forms of visual art. His unconventional sense of style and his glory entourage helped him accomplish the mega-star status to which he aspired.

Warhol's volition dictated that his estate fund the Warhol Foundation for the advancement 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 Constitute, and Dia Center for the Arts the Warhol Museum was opened in Pittsburgh, Pennsylvania in 1994, housing a large drove of Warhol'south work.

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Source: https://www.theartstory.org/artist/warhol-andy/life-and-legacy/

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