Warhol And Pop Art Pop Art emerged in the US in the early 1960’s, at first completely unacknowledged. During it’s beginning, Pop Art was often seen as an insult to the roles of such artists as Pollock and de Kooning, who were leading a revival of Abstract Expressionist, “an abrupt and conspicuous dialectical reaction to a great wave of abstraction,” at mid-century. Emerging with considerable fanfare, mainly condemnation, but by 1963-64, it suddenly began being extensively exhibited, published, and consumed as a cultural phenomenon By the early 60’s, Warhol became determined to establish himself as a serious painter, as well as to gain the respect of such famous artists of the time such as Jasper Johns and Robert Rauschenberg, whose work he had recently come to know and admire. He began by painting a series of pictures based on crude advertisements and on images from comic strips. These first such works, such as ‘Saturday’s Popeye’(1960) and ‘Water Heater”(1960), were loosely painted in a “mock-expressive” style that mocked the gestural brushwork of Abstract Expressionism, and are among the first examples of what came to be known as Pop Art. Warhol’s works during the early 60’s are among those for which he is best known for. He reproduced advertisements and cartoons, as well as such familiar household items as telephones and soup cans, often painting one image repeatedly in a grid design. Many of these works, such as his pictures of dollar bills and soup cans, as in ‘Cambell’s Soup Cans 200”(1962), show many ideas underlying advertising, as well as showing his interest in techniques that enabled multiplication of an image, such as silk-screen printing, techniques that dominated much of his work. Through these works Warhol gained his much desired recognition, becoming an instant celebrity, having gone from respected commercial illustrator to controversial and influential artist. Such Pop Art images as Warhol’s soup cans and Lichtenstein’s comic book panels jumped from the vast American consumer culture into the realm of high artistic and aesthetic recognition. It is not known whether Lichtenstein or Warhol was the first to displace commercial images from the media to modernist painting, but Warhol, of all the founding Pop artists, first and foremost, consistently “hewed to the canons of Pop technique and iconography.” These first Pop works, in their intentional exclusion of all conventional signs of personality, in their obvious rejection of innovation and their blatant vulgarity, were somewhat brutal and shocking, designed with the intention of offending an audience “accustomed to thinking of art as an intimate medium for conveying emotion.” Warhol further extended these concerns by using techniques that gave his images a printed appearance, using st

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