e 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 spread sho

visible, showing a sign reading "SILENCE," the sign exclamating the emptiness of the execution chamber. The image, the chamber empty , showing only the sign, represents death as an absence and complete silence, a complete void. This notion was characteristic of Warhol, who once said "I never understood why when you died, you didn't just vanish and everything could just keep going the way it was, only you just wouldn't be there," and who often stated that he wanted a blank tombstone when he died. Many wonder why Warhol chose such imagery to focus on, and he himself gives little reason. For some of these works, in which he shows images repeated relatively unchanged, he was attempting to lessen the shock of the viewer, recognizing such events for their face value, as everyday occurrences. "When you see a gruesome picture over and over again, it doesn't really have and effect." As in the "Jackies," images of the recently assassinated President Kennedy's grieving widow, were repea!

hus, 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 secondaries, 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 individual !

nned food shown in "Tunafish Disaster," these images appear to represent a breach of faith in the products of the Industrial Revolution by showing consumes products embraced by the population that backfire and cause death. Warhol retained the images from clippings of newspapers, magazines, and photographs, altering them only slightly, as was his norm, to show the images as they were, everyday occurrences the public accepts yet forgets, forcing the viewer to take them at face value. They portray "A stark, disabused, pessimistic vision of American life, produced from the knowing rearrangement of pulp materials by an artist who did not opt for the easier paths of irony or condescension." Among the most iconic Death and Disaster images in the "Electric Chair."(1963) According to Warhol, his replication of this image, both within the single compos

Some common words found in the essay are:
According Warhol, Broadcasting Company, Technology Pittsburgh, President Kennedy's, Lichtenstein Warhol, Atomic Bomb, Industrial Revolution, Death Disaster, Pop Art, Abstract Expressionist, death disaster, pop art, soup cans, death disaster paintings, background color, disaster paintings, dollar bills, fashion magazines, atomic bomb, according warhol, de kooning,
Approximate Word count = 1896
Approximate Pages = 8 (250 words per page double spaced)