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        Back to Artists
        Andy Warhol is synonymous with American art in the second half of the 20th century and is known for his iconic portraits and consumer products, mixing popular culture and fine art, redefining what art could be and how we approach art. While many of Warhol’s works may not represent famed individuals, his depictions of inanimate objects elevate his subjects to a level of celebrity. Warhol first depicted shoes early in his career when he worked as a fashion illustrator and returned to the theme in the 1980s, combining his fascination with consumerism and glamour. With his constant desire to fuse high and low culture, Warhol chose to highlight something that is so ubiquitous as shoes. The subject can denote poverty or wealth, function, or fashion. Warhol glamorizes the pile of footwear, covering them with a patina of glitzy diamond dust, further blurring the meaning between utilitarian need and stylized statement piece.
        ANDY WARHOL
        Diamond Dust Shoes (Black and White)
        1980
        40 x 59 1/2 in.
        screenprint with diamond dust
        200,000

        ANDY WARHOL - Self-Portrait with Fright Wig - screenprint on t-shirt - 33 1/2 x 40 1/4 in.
        ANDY WARHOL
        Self-Portrait with Fright Wig
        1985
        33 1/2 x 40 1/4 in.
        screenprint on t-shirt
        110,000

        It is remarkable the speed with which the art world embraced Andy Warhol after July 1962 when his paintings of thirty-six paintings of Campbell's Soup Cans were displayed at The Ferus Gallery in Los Angeles. Among his last hand-painted works, Warhol soon discovered silkscreen, the medium with which he is most closely associated. Whereas the handcrafted soup-can paintings look mechanically produced, the silkscreen was a mechanical and commercial process that enabled Warhol to produce unlimited precise repetitions and variations of key subjects. As one of the 32 original varieties, Vegetable remains a pop culture phenomenon, turning up on everything from plates and mugs to neckties, t-shirts, and surfboards.
        ANDY WARHOL
        Campbell's Soup I: Vegetable Soup
        1968
        35 x 23 in.
        screenprint on paper
        100,000

        Andy Warhol's Campbell's Soup Cans series marks a pivotal moment in his career and the Pop Art movement. The series, consisting of 32 canvases, each depicting a different flavor, revolutionized the art world by elevating mundane, everyday consumer goods to the status of high art. The screen print Pepper Pot from 1968 employs his signature style of vivid, flat colors and repeated imagery, characteristic of mass production and consumer culture. Screen printing, a commercial technique, aligns with Warhol's interest in blurring the lines between high art and commercial art, challenging artistic values and perceptions.
        ANDY WARHOL
        Pepper Pot from Campbell's Soup
        1968
        35 x 23 in.
        screenprint in colors
        100,000

        ANDY WARHOL - Campbell's Soup Can (Tomato) - screenprint in colors on colored t-shirt - 29 x 26 1/2 in.
        ANDY WARHOL
        Campbell's Soup Can (Tomato)
        c. 1985
        29 x 26 1/2 in.
        screenprint in colors on colored t-shirt
        60,000

        ANDY WARHOL - Northwest Coast Mask - screenprint in colors on Lenox Museum Board - 38 x 38 in.
        ANDY WARHOL
        Northwest Coast Mask
        1986
        38 x 38 in.
        screenprint in colors on Lenox Museum Board
        60,000

        Warhol's "Electric Chair" is undoubtedly the most macabre of Warhol's 70-odd paintings and prints from the Death and Disaster series yet its brilliant colors bring a stark, ameliorating contrast to the subject matter. The irony is that repetition and the mechanized purity of screen-prints that elevated Campbell's soup cans to fine art status serve a different purpose here. They act as desensitizing agents that, by degrees, create emotional separation from the gruesome, the macabre, death and mortality. As if to further declare his intentions, Warhol reduced the cavernous room of earlier iterations to a shallow plane, giving a more tightly focused view of the chair itself, its morbidity meliorated under blocks of yellow, pink, blue, and orange.
        ANDY WARHOL
        Electric Chair
        1971
        35 3/8 x 47 3/4 in.
        screenprint in colors on woven paper
        50,000

        ANDY WARHOL - The Shadow (from Myths) - color screenprint with diamond dust on paper - 37 1/2 x 37 1/2 in.
        ANDY WARHOL
        The Shadow (from Myths)
        1981
        37 1/2 x 37 1/2 in.
        color screenprint with diamond dust on paper
        48,000

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