. ▁He ▁explains ▁that ▁" Mar is ol ▁inherited ▁some ▁of ▁the ▁features ▁of ▁this ▁tradition ▁by ▁way ▁of ▁her ▁training ▁under ▁Howard ▁War sh aw ▁and ▁Y as uo ▁K ai y oshi ." ▁Bo imes ▁also ▁notes ▁the ▁prof ound ▁effect ▁that ▁Com ic ▁book ▁art ▁had ▁on ▁the ▁Pop ▁Art ists ▁and ▁Mar is ol ▁herself , ▁not ▁to ▁mention ▁that ▁the ▁orig ins ▁of ▁the ▁com ic ▁strip ▁are ▁deeply ▁inter tw ined ▁with ▁the ▁Ash can ▁School , ▁explaining ▁that , ▁" The ▁pione ers ▁associated ▁with ▁the ▁Ash can ▁School ▁spr ang ▁from ▁the ▁same ▁roots ▁as ▁pione er ▁cart oon ists ," ▁and ▁that , ▁" al most ▁all ▁began ▁their ▁care ers ▁as ▁cart oon ists ." ▁He ▁writes ▁that ▁com ic ▁stri ps ▁and ▁com ic ▁books , ▁as ▁well ▁as ▁animated ▁cart o ons , ▁held ▁a ▁particular ▁appeal ▁for ▁an ▁entire ▁generation ▁of ▁artists ▁born ▁around ▁ 1 9 3 0 , ▁including ▁Cla es ▁Old enburg , ▁Mel ▁Ram os , ▁Andy ▁War hol , ▁Tom ▁W essel mann , ▁James ▁Rosen qu ist , ▁and ▁of ▁course ▁Roy ▁L ichten stein , ▁the ▁oldest ▁of ▁this ▁group ," ▁all ▁of ▁whom ▁were ▁associated ▁to ▁one ▁degree ▁or ▁another ▁with ▁Pop . ▁Bo ime ▁notes ▁that ▁" for ▁a ▁time ▁War sh aw ▁worked ▁for ▁Warner ▁B ros . ▁An imation ▁drawing ▁B ugs ▁Bun ny , ▁and ▁he ▁later ▁drew ▁for ▁The ▁W alt ▁Disney ▁Company ," ▁and ▁that ▁there