Andy Warhol Posters Prints Pop Art

Shot Blue Marilyn

Shot Orange Marilyn Art Print

Diamond Dust Shoes Lilac Blue Green

Marilyn Monroe hot pink

Brooklyn Bridge Art Print

Edie Sedgwick, 1966t

Guns, c.1981-82

Gun, 1981-82 Art Print

Butterflies Art Print

Campbells Soup Can Green Purple

Campbell's Soup I

Campbell's Soup Can Green aRed

Campbell's Soup Can Pink Red

Campbell's Soup Can 1965 Blue Purple

Three Coke Bottles

Andy Warhol was born in Pittsburgh, Pennsylvania. His parents, Andrew Warhola - the Eropean spelling of the surname was Varchola but this was changed after immigrating to America - and Julia Warhola, were blue-collar immigrants of Rusyn ethnicity from Miková, Austria-Hungary which is now in northeastern Slovakia.Warhol's father was employed in a coal mine and the household lived in the Oakland vicinity of Pittsburgh. The family was Byzantine Catholic and went to St. John Chrysostom Byzantine Catholic Church. Andy Warhol has two siblings, brothers John and Paul.

In third grade Warhol took ill with St. Vitus' dance, an affliction of the nervous system inducing unconscious movements which is thought to be a ramification of scarlet fever. This disease caused a blotching in pigmentation of his skin and, as a child, he turned into something of a hypochondriac, acquiring a dread of infirmaries and medical doctors. Since he was at times infirm as a child, he became an unwanted among his classmates and became very attached to his mother. While in bed he would to draw, listen to the radio and accumulate pictures of movie stars about his bed. Looking back afterwards, Warhol depicted the period of his sickness as very crucial in the evolution of his personality and in the forging of his skill-set and tastes. Warhol demonstrated an early artistic gift and studied technical art at the School of Fine Arts at Carnegie Institute of Technology in Pittsburgh. In 1949, he went to New York City and started a flourishing career in magazine illustration and advertisement. He became familiar primarily for his whimsical ink drawings of shoes executed in a light, blotted ink manner. These were used in some of his earliest showings in New York at the Bodley Gallery.

Flowers Art Print

Cow Yellow on Blue Background

Boticellis Birth of Venus

Everybody Art Print

World Art Print

Three's a Party

Waiting Art Print

Love Affair Art Print

Art Art Print

Set of Six Self Portrait

Sun Poster

Portrait of Maurice

Jackie Art Print

Dollar Sign 1981

Elvis Giant Poster

It was in the 1960s that Warhol started to produce paintings of well known American products such as the now famous Campbell's Soup Cans from the Campbell Soup Company and Coca-Cola, in addition to paintings of famous people such as Marilyn Monroe, Troy Donahue, and Elizabeth Taylor. He launched "The Factory", his studio, during these years, and accumulated about himself a broad array of artists, writers, musicians and underground celebrities. He changed to silk screen prints, which he made serially, searching not only to construct art of mass produced items but to mass produce the art itself. In announcing that he desired to be "a machine", and in belittling the role of his own hand in the output of his work, Warhol touched off a revolution in art - his work promptly became very disputable and fashionable.

Warhol's work from this time period centered American Popular Culture. He painted dollar bills, celebrities, brand name products, and figures from newspaper cuttings - several of the latter represented iconic icons from headline chronicles of the decade - photographs of mushroom clouds, and police dogs assaulting civil rights dissidents. His subjects were immediately identifiable, and frequently had a mass appeal - this facet interested him most, and it merges his paintings from this period.

Red Sam

Querelle Grey Art Print

Beethoven Pink Book

Lips Art Print

10 Marilyns Art Print

Knives Silver Black

One Hundred Cans

Daisy Crimson Pink Art Print

Daisy Blue on Blue

Skull, 1976 Art Print

Page from Lips Book

Four Monkeys Art Print

New York's Museum of Modern Art hosted a Symposium on pop art in December 1962, during which artists similar to Warhol were assailed for "capitulating" to consumerism. Critics were appalled by Warhol's candid embracing of commercialized culture. This symposium set the flavor for Warhol's reception - although throughout the decade it became increasingly clear that there had been a fundamental shift in the culture of the art world, and that Warhol was at the core of that shift.

A important event was the 1964 exhibit "The American Supermarket", a show held in Paul Bianchini's Upper East Side gallery. The show was exhibited as a regular small supermarket environment, except that everything in it - the produce, canned goods, meat, notices on the wall - were produced by six distinguished pop artists of the era, including the controversial Billy Apple, Mary Inman, and Robert Watts and others of a similar bend. Warhol's painting of a can of Campbell's soup cost $1,500, while each signed can was priced at for $6. The exhibit was one of the first mass events that directly faced the common public with both Pop Art and the repeated question of what is art.

As an advertising illustrator in the 1950s Warhol employed assistants to step-up his productiveness. Collaboration would rest a shaping and controversial facet of his working techniques throughout his career - in the 1960s, however, this was especially truthful. One of the most significant partners during this period was Gerard Malanga. Malanga helped the artist with making silkscreens, films, sculpture, and additional works at "The Factory", Warhol's aluminum foil-and-silver-paint lined studio on 47th Street which would later relocate to Broadway. Additional members of Warhol's Factory bunch included Freddie Herko, Ondine, Ronald Tavel, Mary Woronov, Pietro Psaier, Billy Name, and Brigid Berlin. From Berlin he seemingly got the idea to tape record his phone conversations. Throughout this decade, Warhol also prepared a entourage of bohemian eccentrics on whom he bestowed the naming of the group as "Superstars". This included Edie Sedgwick, Viva, and Ultra Violet. These people all took part in the Factory films, and a few, like Berlin, continued to be friends with Warhol until his death. Significant figures in the New York underground art film world such as writer John Giorno, film-maker Jack Smith likewise appear in Warhol films of the 1960s, divulging Warhol's associations to a different range of artistic scenes during this point. By the end of the decade, Andy Warhol was himself a celebrity, appearing often in newspapers, periodicals and magazines beside Factory cohorts like Sedgwick.

On June 3, 1968, Valerie Solanas shot Warhol and art critic and curator Mario Amaya at Warhol's studio. Prior to the shooting, Solanas had been a borderline name in the Factory scene. She established a group known as S.C.U.M. (Society for Cutting up Men) and authored the scathing S.C.U.M. Manifesto, a breakaway feminist assault on patriarchy. Solanas appears in the 1968 Warhol film, "I, A Man." Earlier on the day of the assault, Solanas had been rejected from the Factory after demanding for the return of a script she had passed on to Warhol. The script, evidently, had been mislaid. Warhol was badly wounded by the attack and just pulled through. Doctors opened up his chest and kneaded his heart to help stimulate its beating again. He sustained physical issues for the remainder of his life. The shooting had a fundamental effect on Warhol's life and art. Solanas was apprehended the day after the attack. By way of explanation, she said that "He had too much control over my life." Later on the Factory scene got much more tightly restricted, and for several this event brought the Factory 60s to close.

In comparison to the success and scandal of Warhol's work in the 1960s, the 1970s would bear witness to a much quieter decade. This point, nonetheless, saw Warhol turning more entrepreneurial. Reported by Bob Colacello, Warhol committed much of his time to gathering new, moneyed patrons for portraiture commissions. Some of these patrons included including Mick Jagger, Liza Minnelli, John Lennon, Diana Ross, Brigitte Bardot, and Michael Jackson. Warhol's renowned portrait of Chinese Communist dictator Mao Zedong was produced in 1973. He also established, along with college with Gerard Malanga, Interview magazine, and printed The Philosophy of Andy Warhol. In this book, he introduces his ideas on the nature of art: "Making money is art, and working is art and good business is the best art."

Warhol had a resurgence of critical and fiscal success in the 1980s, partly attributable his association and friendships with a number of productive younger artists, who were reigning the bull market of '80s New York art scene: Jean-Michel Basquiat, Julian Schnabel, David Salle and the alleged Neo-Expressionists, as well as Francesco Clemente, Enzo Cucchi and members of the Transavantguardia cause, which had become prestigious. Warhol likewise had an admiration for strong Hollywood glamor. He once said: "I love Los Angeles. I love Hollywood. They're so beautiful. Everything's plastic, but I love plastic. I want to be plastic."

- 4 Marilyns
- 5 Deaths 1963
- A Boy For Meg 1962
- American Bald Eagle 1983
- Beethoven 1987
- Bighorn Ram 1983
- Black Rhinoceros 1983
- Blackglama (Judy Garland) 1985
- Cagney 1962
- Camouflage 1987
- Campbell Soup Can 1968
- Campbell's Soup box painting 1986
- Cologne Cathedral 1985
- Dennis Hopper 1971
- Diamond Dust Shadows 1979
- Diamong Dust Chocolates 1981
- Dollar Sign 1981
- Empire 1964
- Fips Wustenspringmaus
- Fish 1983 20.3x25.4
- Five Guns 1983
- Floral Still Life
- Flowers 1964
- Flowers 1964
- General Custer 1986
- Geronimo 1986
- Grace Kelly 1984
- Gun 1981/82 40.6x50.8
- Guns 1985
- Hammer and Sickle 1976
- Heaven and Hell 1985/86
- Heinz Tomato Ketchup Box 1963
- Ingrid Bergman Herself 1983
- Ingrid Bergman With Hat 1983
- John Wayne 1986
- Kachina Dolls 1986
- Key Service 1986
- Kimiko 1982
- Knives 1981/82
- Ladies And Gentlemen 1975
- Large Campbell's Soup Can 1964
- Last Supper 1986
- Lenin 1987
- Leo Castelli 1975
- Lifesavers 1985
- Lita Curtain Star 1968
- Liz 1964
- Mao 1973
- Map of Eastern USSR Missile Bases -Positive and Negative 1986
- Marilyn Monroe
- Michael Jackson 1984
- Miguel Bose 1983
- Mobil 1985
- Moonwalk 1987
- Mother And Child 1986
- Motorcycle with Side Car 1983 2
- Nine multicolored Marilyns (Riversal Series) 1979-1986
- Orange Car Crash Fourteen Times 1963
- Orangutan 1983
- Pia Zadora
- Pine Barrens Tree Frog 1983
- Pink Shoe
- Portrait de Jean Cocteau 1985
- Portrait of John McEnroe and Tatum O'Neal 1986
- Queen Ntombi 1985
- Reagan Budget 1986
- Rebel Without A Cause
- Red Lenin 1987
- Roll of Bills 1962
- Satryic Festival Song
- Self-defense 1985/86
- Self-Portrait 1964
- Self-Portrait 1966
- Self-Portrait With Camouflage 1986
- Seven Decades of Janis 1967
- Shadow 1978
- Shoe 1955
- Siberian Tiger
- Sitting Bull 1986
- Suicide 1964
- Teddy Roosevelt 1986
- Ten-Foot Flowers 1967
- The Scream (after Edvard Munch) 1984
- The Two Sisters 1982
- Toy painting, Fish 1983
- Triple Elvis 1963
- Truman Capote 1979
- Uncle Sam 1981
- Van Heusen 1985
- Vesuvius 1985
- Vietnam Proven Jungle Boots 1984/85
- Volkswagen 1985
- Water Heater 1961
- Wind-up Toy Roll over Mouse 1983

Numerous people consider of Warhol as asexual and simply a voyeur. but these beliefs have been exposed by biographers such as Victor Bockris, researched by other members of the factory scene such as Bob Colacello in his volume Holy Terror: Andy Warhol Close Up, and by scholars like art historiographer Richard Meyer in his volume Outlaw Representation. The doubt of how his sexuality shaped Warhol's work and molded his kinship to the art world is a major topic of scholarship on the artist, and is an issue that Warhol himself spoke of in interviews, in conversation with his fellow artists, and in his writings.

Throughout his vocation, Warhol created erotic photography and drawings of male nudes. Several of his most renowned works - portrayals of Liza Minnelli, Judy Garland, Elizabeth Taylor, and films like Blow Job, My Hustler, and Lonesome Cowboys - take in from gay underground culture and openly search the complexness of sexuality and want. Several of his films premiered in gay porn theaters. Some stories about Warhol's maturation as an artist centered the obstruction his sexuality at first confronted as he attempted to launch his career. The first works that he submitted to a gallery in the quest of a career as an artist were homo erotic drawings of male nudes. They were declined for being too openly gay. In Pop art, moreover, the artist recollects a conversation with the film maker Emile de Antonio about the trouble Warhol had being admitted socially by the then more renowned yet closeted gay artists Jasper Johns and Robert Rauschenberg. De Antonio explained that Warhol was "too swish and that upsets them." In reaction to these, Warhol pens, "There was nothing I could say to that. It was all too true. So I decided I just wasn't going to care, because those were all the things that I didn't want to change anyway, that I didn't think I 'should' want to change ... Other people could change their attitudes but not me". In researching Warhol's biography, several turn to this time - the late 1950s and early 1960s - as a pivotal moment in the evolution of his character. Some have proposed that his steady refusal to remark on his work, to speak on himself,constraining himself in interviews to reactions like "Uhm, No" and "Uhm, Yes", and frequently allowing others to verbalize for him, and even the development of his Pop manner can be followed to the years when Warhol was first disregarded by the inner environs of the New York art culture.

Warhol was known as a practicing Byzantine Rite Catholic. He often volunteered at homeless shelters in New York, especially during the more active times of the year, and represented himself as a spiritual person. Many of his later works incorporate almost concealed religious themes or matters, and a body of religious themed works was discovered posthumously in his estate. Warhol likewise regularly went to Mass during his life, and the priest at Warhol's selected church, Saint Vincent's, said that the artist went there nearly daily. His art is perceptibly shaped by the eastern Christian iconographic custom which was so apparent in his places of worship.

Warhol's brother has accounted the artist as "really religious, but he didn't want people to know about that because [it was] private". Notwithstanding the private nature of his religious belief, in Warhol's eulogy John Richardson portrayed it as devout: "To my certain knowledge, he was responsible for at least one conversion. He took considerable pride in financing his nephew's studies for the priesthood".

Warhol passed away in New York City at 6:32 a.m. on February 22, 1987. Reported by the news, he had been making effective recovery from a everyday gallbladder operation at New York Hospital prior to dying in his sleep from a abrupt heart attack. The hospital faculty had neglected to adequately monitor his circumstance and over loaded him with fluids after his operation, inducing a fatal case of water intoxication, which propelled Warhol's lawyers to sue the hospital for carelessness. Preceding to his diagnosis and operation, Warhol postponed having his repeated gallbladder troubles looked into, as he was afraid to go into hospitals and visit doctors.

Warhol's body was brought back to Pittsburgh by his brothers for burying. The wake was held at Thomas P. Kunsak Funeral Home and was an open-coffin ceremony. The coffin was a grand affair solid bronze casket with gold plated railings and white upholstery. Warhol was dressed in a black cashmere suit, a paisley tie, a platinum wig, and his beloved sunglasses. He was bearing a humble prayer book and a red rose. The funeral liturgy was held at the Holy Ghost Byzantine Catholic Church on Pittsburgh's North Side. The eulogy was delivered by Monsignor Peter Tay. Fellow artist Yoko Ono likewise made an show. The coffin was enshrouded with white roses and asparagus ferns. After the liturgy, the coffin was taken to St. John the Baptist Byzantine Catholic Cemetery in Bethel Park, a southern suburb of the city of Pittsburgh. At the grave, the priest said a short prayer and scattered holy water on the casket. Prior to the coffin being let down, Paige Powell cast a copy of Interview magazine, an Interview t-shirt, and a bottle of the Estee Lauder perfume "Beautiful" into the artist's grave. Warhol was buried next to his mother and father.

Several weeks afterward another memorial service was later held in Manhattan for Warhol on April 1, 1987 at the church of St. Patrick's Cathedral, New York. The artist had so many possessions that it took Sotheby's a total of nine days to auction off his full estate after his death; the auction grossed more than US$20 million. His complete estate was worth substantially more, in no small part due to sharp investments over the years.

On the twentieth anniversary of his passing The Gershwin Hotel in New York City held a seven day series of events remembering Warhol's art and his gathering of superstars. An award ceremony was held, along with a fashion show, and the rock group Blondie performed at the conclusion party. Meanwhile, The Carrozzini von Buhler Gallery in New York City held an exhibit called, Andy Warhol: In His Wake. The exhibit boasted the art of Warhol's superstars Ultra Violet, Billy Name, Taylor Mead, and Ivy Nicholson along with as art by a newer generation of artists who have been inspired by Warhol. One interactive sculpture in the exhibit, The Great Warhola, by Cynthia von Buhler, portrayed Warhol as an arcade fortune telling machine. The gallery was metamorphosed to look like Warhol's famous silver foil factory. Factory Girl, a film about the life of Edie Sedgwick, starring Sienna Miller and Hayden Christensen, was also issued one week prior to the anniversary of Warhol's death.