Chat with us, powered by LiveChat

Your Andy Warhol Specialists

SEARCH
Picture of Campbell Soup I: Vegetable (FS II.48), 1968, stock version, by Andy Warhol
Picture of Campbell Soup I: Vegetable (FS II.48), 1968, stock version, by Andy Warhol
Andy Warhol's signature on the back of Campbell's Soup I: Vegetable 48.
vegetable with beef stock soup

Campbell’s Soup I: Vegetable 48

Catalogue Title: Campbell’s Soup I: Vegetable (FS II.48)

Year: 1968

Size: 35” x 23”

Medium: Portfolio of ten screenprints on paper

Edition: Edition of 250 signed in ballpoint pen and numbered with a rubber stamp on verso. There are 26 AP signed and lettered A – Z in ball-point pen on verso.

Hidden

Campbell’s Soup I: Vegetable 48 is a print by Andy Warhol included in the Campbell’s Soup I portfolio. As some of his most iconic work, the soup cans are indicative of his revolutionary pop-art style. The screen print is bold in its simplicity and color. The red stripe against the white bottom accentuates the red letters below, and the white Campbell’s logo matches the bottom of the can. Campbell’s Soup I is amongst Warhol’s highest selling portfolios.

Warhol printed the soup can in 1968, six years after the original Campbell’s Soup Cans paintings (sometimes called 32 Campbell’s Soup Cans) debuted at Warhol’s first solo exhibit. The exhibit, held at the Ferus gallery in Los Angeles, was both acclaimed and widely criticized. Mainly, the work was controversial because of the way Warhol’s art disrupted the status quo of the era.

In the decades leading up to the 1960s, abstract expressionism dominated the art world. As a dignified style, abstract art reigned supreme for its complex portrayals of nature, and the intricacies of the human condition. Consequently, going to a fine art exhibit and seeing a vegetable soup can on the wall was mystifying for many. Indeed, the work offended a number of artists and critics.

This is a large reason why Andy Warhol’s soup cans have been so successful. They depict a commercial image, void of the author’s touch, and are completely objective, lacking the typical painterly style. Warhol presented them bravely, and they challenged the established culture of art. Of course, the pieces didn’t necessarily harbor success from the technical skill or creativity involved in making them; but from their provocative nature, and Warhol’s philosophy behind the images.

Warhol liked painting mundane objects because he saw them for their perfection and convenience. He also wanted to ask what could count as art, and experiment with the context in which we witness it. Does an ordinary picture of a soup can count as art if we see it in the company’s headquarters, or on a billboard? Does that same image become art if we witness it in a museum? With questions like these in mind, Warhol pushed the boundaries of what we might accept as art. He attempted to re-focus our attention from subjects of natural beauty to art that reflects what is authentic to the world that humans have constructed.

Consequently, the Campbell’s Soup cans (and much of his other work) focus on the industrial and commercial culture of our society, drawing our attention to unexpected sources of beauty and inspiration. This theme can be seen in works like the Ads series, Shoes, and even his Truck portfolio.

Additionally, Warhol felt many artists at the time overlooked the simple pleasures of modernity. In particular, mass production, consumer culture, and ubiquitous images of American society fascinated Warhol. Celebrities, popular commodities, and fictional characters were all the same type of famous to him. As a result, Warhol’s legacy largely includes a catalogue of pop culture, showcasing symbols of fame, glamour, and ordinary life. Above all, the Campbell’s Soup I: Vegetable 48 is a cornerstone of Warhol’s collection, as they are some of his most bold illustrations of both his thought and signature style.

Share this page:

Share on facebook
Share on twitter
Share on linkedin
Share on email

Related Works

Scroll to Top