in a brown paper bag, Warhol introduced himself and showed his work to anyone that could help him out. Eventually, he got a job with Glamour magazine, doing illustrations for an article called "Success is a Job in New York," along with doing a

Unfortunately, Warhol was not so successful at first in obtain this goal. His delicate ink drawings of shoes and cupids, among various others, had no place in a decade dominated by such heroic artists as William de Kooning and Jackson Pollock.

thod, and art directors of the 1950's found in adaptable to nearly any purpose. This method functioned provided him with a hand-scale equivalent of a printing press, showing his interest in mechanical reproduction that dominates much of his future work. Such techniques used for almost all of his works derived from his beginning in the commercial arts. His pattern of aesthetic and artistic innovation, to "expect the unexpected," began with his advertising art in the 1950's. Much of his future subject matter can be placed in the realm of such common, everyday objects that were focused on in these early times. Nearly all of Warhol's works relate in one way or another to the commercially mass-produced machine product. Hence, Warhol's future artwork and techniques were greatly influenced by his rather humble beginnings. Although Warhol did receive recognition for much of his commercial illustrations during those times, he was constantly pursuing another career as a serious artist. !

s, the idea of death was not a new one for him, and thereby his choice of subject matter may not have been completely random. Throughout the Death and Disaster paintings, Warhol makes use of background color to serve various functions. Mostly, throughout the series, he avoids the use of primary colors, using mainly secondary colors, such as oranges, lavenders, and pinks; the types of colors "you would expect to find in a wallpaper store." His use of background color in the Death and Disaster paintings is mostly extrinsic to the content of the images. In some, such as "Lavender Disaster," the background color seems to intensify the effect of alienation created by the realism of the visual content. In others, such as "Atomic Bomb," the red-orange color serves a supporting role. The images Warhol selected for these paintings were gruesome, though he showed again his brilliant eye for such images so effective in shocking the viewer. "With an eye for the eccentricity of an individu!

al event, Warhol's paintings capture the unpredictable choreography of death." Using a broad range of images, from car crashes, suicides, burn victims, funerals, riots, to the culmination with the atomic bomb, Warhol succeeded in giving the viewer what one expected of Warhol; to expect the unexpected.

to reinforce the obsessive ways that our thoughts keep returning to a tragedy, and "stress the flash of fame these little known (suicides) victims achieve in death. This can be said to be consistent with Warhol's claim that everyone "will be famous for 15 minutes." In this, does he mean by trag

Some common words found in the essay are:
According Warhol, Broadcasting Company, Technology Pittsburgh, President Kennedy's, Liechtenstein Warhol, Atomic Bomb, Industrial Revolution, Pop Art, Death Disaster, Abstract Expressionist, death disaster, pop art, soup cans, death disaster paintings, subject matter, background color, disaster paintings, choice subject matter, fashion magazines, art world, atomic bomb, choice subject,
Approximate Word count = 1892
Approximate Pages = 8 (250 words per page double spaced)