Two works response

Insert Project about art two works response What about these works ” captured ” your attention
The field of contemporary art and culture has the emergence of Andy Warhol, and Roy Lichtenstein, who became influential figures in the field of arts. Andy, through his better imagery and art cultivated celebrity, he made his artwork one of the best. Andy’s artworks discussed in this paper is the Campbell soup cans alongside Roy’s pop style in cartoon imagery whose maturity came in 1963 with the release of drowning girl. The two were common to the people thus having an art concerning them could be of utmost interest to the people.
Describe and analyze your selected works (using the terminology of visual)
Starting with the Campbell Soup cans, Andy started his artwork on these cans by painting them. He borrowed this idea from Muriel Latow, who was an interior designer since this cans were familiar with the people thus he was supposed to paint the objects that people saw every day. He did some artwork on this cans first by created an image which he repeatedly traced so as to enhance a two-dimensional graphic aesthetic. He further made two types of the Campbell soup cans whereby he employed visual differentiation to show the difference between the two. This was in terms of portraits were of the first type was the “ Monchengladbach type” having an illustrated image. The other type was “ Virus type” which had a log on the envelope of the soup company. He ensured that there was a noticeable difference between the two through is artwork by painting. He also ensured that the bottom edge of each can was hand stamped then enhanced uniform advertising by the same careful reproduction across the individual canvas. He further enhanced labeling on the front of every can too easily to differentiate the cans by their variety. (Patrick, pg 117).
On the other hand, Roy’s work as a pop artist with a majority of his initial works varying in style and subject with enhanced display of increased understanding of modern painting. His important art came with the drowning girl (Lichtenstein et al.). The source of the image had been the boyfriend of the woman standing on a boat that was above her. His interests traversed both the subject matter as well as the qualities of images that were abstract. The high impact of the iconic images he created has synonymously involved cropping images in creating new compositions. Lichtenstein further involved condensing text from the comic book panels portraying language as a vital visual element. The latter advanced the emblematic concept of the commercial art to his high works.
How has your appreciation/understanding of these works been strengthened by your analysis)
Through my analysis I have gained more knowledge on the artwork more so the painting as employed by Andy as it enhances easy and efficient communication to the viewers of the products as it projects their ideas to the pictures (Kynaston, pg 14). Also, the artwork makes the products look more familiar and fascinating to the viewers.
Do you discern any relationships between these works?
There is a relationship between the above two works. The relationship is that in both works the painting has been enhanced because the objects are what the people see every day thus by painting, it will make them more attractive to the people.
What do you think “” called “” you these works in the first place?
The works above, through the artwork of Andy and Roy, were more attractive and fascinating as the painting was in relation to their purposes. The artwork also portrayed as a better image to the viewers as they made the viewer’s able to know what really the objects were as they acted as mirrors which reflected the viewer’s thoughts.
Works cited
Kynaston McShine, ed. , Andy Warhol: A Retrospective. The Museum of Modern Art, New York pg. 14. (1986).
Lichtenstein, Roy et al. Roy Lichtenstein Sculptor. Venice: Fondazione Emilio e Annabianca Vedova, 2013. Print.
Patrick S. Smith, Andy Warhols Art and Films (Ann Arbor), p. 13; Carter Ratcliff, Andy Warhol. New York, pg. 117; (1986).