VARIOUS PROPERTIES
ANDY WARHOL (1928-1987)
Details
ANDY WARHOL (1928-1987)
210 Coca-Cola Bottles
signed and dated Andy Warhol 62 on the reverse--silkscreen ink, synthetic polymer, and graphite on canvas
82½ x 105in. (209.6 x 266.7cm.)
210 Coca-Cola Bottles
signed and dated Andy Warhol 62 on the reverse--silkscreen ink, synthetic polymer, and graphite on canvas
82½ x 105in. (209.6 x 266.7cm.)
Provenance
Stable Gallery, New York
Harry N. Abrams Family Collection, New York
Harry N. Abrams Family Collection, New York
Literature
Andy Warhol (exhibition catalogue for Moderna Museet, Stockholm), 1968, (illustrated on sixteen consecutive pages)
H.H. Arnason,History of Modern Art, New York 1968, p. 587 (illustrated)
R. Crone, Andy Warhol, New York 1970, p. 263, no. 533, (illustrated)
C. Ratcliff, Andy Warhol, New York 1983, p. 30 (illustrated)
S. Greenspan, "Contemporary Art", Art & Auction, Sept. 1988, p. 137 (illustrated)
R. Mahoney, "The Quaint and Charming (Early) Andy", Arts Magazine, 1989, p. 67 (illustrated)
M. Livingstone,Pop Art: A Continuing History, New York 1990, p.116, no. 161 (illustrated)
Painted in 1962, 210 Coca-Cola Bottles is the largest and the most complex of Warhol's series of Coke bottle paintings. A smaller vertical version, Green Coca-Cola Bottles, is in the collection of the Whitney Museum of American Art in New York.
In 1960, Andy Warhol began his career as a Pop artist with hand-painted images of comic strips and advertisements from the newspapers and other mass media sources. Two years later, Warhol began his experimentation with serial repetition and mechanized image reproduction. "Having selected an image Warhol would send it to a commercial silkscreen shop to be transferred to a stencil by the traditional hand-cutting method. Back at the factory, the artist and his assistants applied the stencil to canvas." (Ratcliff, op. cit., pp. 111-112) In 210 Coca-Cola Bottles, the repeated image of the "actual size" Coke bottles (11 inches high) formally lined in rows reflects the assembly line production and supermarket shelf context from which Warhol lifted them. The bottles appear in a grid which is evident in the graphite under-drawing that divides the painted portion of the canvas into ten columns of three bottles (the size of the stencil Warhol used: see detail) and seven rows of thirty bottles.
210 Coca-Cola Bottles is a prime example of differentiated repetition, a concept Warhol explored in depth, when images that appear to be mass produced are in actuality different. David Bourdon explains the painting's complexity; "It presents three different views of the bottle: in addition to the frontal view, there is a profile view, in which the seam of the molded glass runs down the middle, flanked by the 'Cola' and 'Coca', and three-quarter profile view, in which the seam appears toward the left side of each bottle. Although the three views frequently occur in sequence, there seems to be no regularly repeated pattern. The beverage is printed in brown over bottle-green silhouettes on a white ground, while the contours of the containers are printed in black, indicating that (Warhol) required at least four and possibly five stencils or silkscreens." (Bourdon, op. cit., p. 120).
H.H. Arnason,History of Modern Art, New York 1968, p. 587 (illustrated)
R. Crone, Andy Warhol, New York 1970, p. 263, no. 533, (illustrated)
C. Ratcliff, Andy Warhol, New York 1983, p. 30 (illustrated)
S. Greenspan, "Contemporary Art", Art & Auction, Sept. 1988, p. 137 (illustrated)
R. Mahoney, "The Quaint and Charming (Early) Andy", Arts Magazine, 1989, p. 67 (illustrated)
M. Livingstone,Pop Art: A Continuing History, New York 1990, p.116, no. 161 (illustrated)
Painted in 1962, 210 Coca-Cola Bottles is the largest and the most complex of Warhol's series of Coke bottle paintings. A smaller vertical version, Green Coca-Cola Bottles, is in the collection of the Whitney Museum of American Art in New York.
In 1960, Andy Warhol began his career as a Pop artist with hand-painted images of comic strips and advertisements from the newspapers and other mass media sources. Two years later, Warhol began his experimentation with serial repetition and mechanized image reproduction. "Having selected an image Warhol would send it to a commercial silkscreen shop to be transferred to a stencil by the traditional hand-cutting method. Back at the factory, the artist and his assistants applied the stencil to canvas." (Ratcliff, op. cit., pp. 111-112) In 210 Coca-Cola Bottles, the repeated image of the "actual size" Coke bottles (11 inches high) formally lined in rows reflects the assembly line production and supermarket shelf context from which Warhol lifted them. The bottles appear in a grid which is evident in the graphite under-drawing that divides the painted portion of the canvas into ten columns of three bottles (the size of the stencil Warhol used: see detail) and seven rows of thirty bottles.
210 Coca-Cola Bottles is a prime example of differentiated repetition, a concept Warhol explored in depth, when images that appear to be mass produced are in actuality different. David Bourdon explains the painting's complexity; "It presents three different views of the bottle: in addition to the frontal view, there is a profile view, in which the seam of the molded glass runs down the middle, flanked by the 'Cola' and 'Coca', and three-quarter profile view, in which the seam appears toward the left side of each bottle. Although the three views frequently occur in sequence, there seems to be no regularly repeated pattern. The beverage is printed in brown over bottle-green silhouettes on a white ground, while the contours of the containers are printed in black, indicating that (Warhol) required at least four and possibly five stencils or silkscreens." (Bourdon, op. cit., p. 120).
Exhibited
Washington D.C., Washington Gallery of Modern Art, The Popular Image, April-June 1963
Stockholm, Moderna Museet, and Humleback, Louisiana Museum, Amerikansk Pop-Konst, Feb.-April 1964
Philadelphia, Institute of Contemporary Art, University of Pennsylvania, Andy Warhol, Oct.-Nov. 1965 (illustrated)
Worcester, Massachusetts, The New American Realism, Feb.-April 1965 (illustrated)
Boston, Institute of Contemporary Art, Andy Warhol, Oct.-Nov. 1966, no.4 (illustrated)
New York, The Jewish Museum, The Abrams Family Collection, June-Sept. 1966
Bucharest, Sala Dalles; Timisoara, Museul Banatului; Cluj, Galeria de Arta; Bratislava, Slovak National Gallery; Prague, Wallenstein Palace, and Brussels, Palais des Beaux-Arts, The Disappearance and Reappearance of the The Image: Painting in The United States Since 1945, 1969
Pasadena Art Museum; Chicago, Museum of Contemporary Art; Eindhoven, Stedelijk Van Abbemuseum; Paris, Musée de l'Art Moderne, Centre Georges Pompidou; London, The Tate Gallery, and New York, Whitney Museum of American Art, Andy Warhol, May 1970-June 1971, p. 45 (illustrated)
Zurich, Kunsthaus, and Humlebaek, Louisiana Museum of Contemporary Art, Andy Warhol, May-Nov. 1978, p. 138, no. 112 (illustrated)
Berkeley, University Art Museum, University of California; Kansas City, Nelson-Atkins Museum of Art, and Richmond, Virginia Museum of Fine Arts, Made in the U.S.A., April-Dec. 1987, p. 92, no. 90 (illustrated)
New York, Museum of Modern Art; Art Institute of Chicago; London, Hayward Gallery; Cologne, Museum Ludwig; Venice, Palazzo Grassi, and Paris, Musée National d'Art Moderne, Centre Georges Pompidou, Andy Warhol: A Retrospective, Feb. 1989-Sept. 1990, p. 203, no.192 (illustrated)
Stockholm, Moderna Museet, and Humleback, Louisiana Museum, Amerikansk Pop-Konst, Feb.-April 1964
Philadelphia, Institute of Contemporary Art, University of Pennsylvania, Andy Warhol, Oct.-Nov. 1965 (illustrated)
Worcester, Massachusetts, The New American Realism, Feb.-April 1965 (illustrated)
Boston, Institute of Contemporary Art, Andy Warhol, Oct.-Nov. 1966, no.4 (illustrated)
New York, The Jewish Museum, The Abrams Family Collection, June-Sept. 1966
Bucharest, Sala Dalles; Timisoara, Museul Banatului; Cluj, Galeria de Arta; Bratislava, Slovak National Gallery; Prague, Wallenstein Palace, and Brussels, Palais des Beaux-Arts, The Disappearance and Reappearance of the The Image: Painting in The United States Since 1945, 1969
Pasadena Art Museum; Chicago, Museum of Contemporary Art; Eindhoven, Stedelijk Van Abbemuseum; Paris, Musée de l'Art Moderne, Centre Georges Pompidou; London, The Tate Gallery, and New York, Whitney Museum of American Art, Andy Warhol, May 1970-June 1971, p. 45 (illustrated)
Zurich, Kunsthaus, and Humlebaek, Louisiana Museum of Contemporary Art, Andy Warhol, May-Nov. 1978, p. 138, no. 112 (illustrated)
Berkeley, University Art Museum, University of California; Kansas City, Nelson-Atkins Museum of Art, and Richmond, Virginia Museum of Fine Arts, Made in the U.S.A., April-Dec. 1987, p. 92, no. 90 (illustrated)
New York, Museum of Modern Art; Art Institute of Chicago; London, Hayward Gallery; Cologne, Museum Ludwig; Venice, Palazzo Grassi, and Paris, Musée National d'Art Moderne, Centre Georges Pompidou, Andy Warhol: A Retrospective, Feb. 1989-Sept. 1990, p. 203, no.192 (illustrated)