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American Civil War
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Casualties
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After the Emancipation Proclamation authorized freed slaves to "be received into the armed service of the United States", former slaves who escaped from plantations or were liberated by the Union Army were recruited into the United States Colored Troops regiments of the Union Army, as were black men who had not been slaves. The U.S. Colored Troops made up 10 percent of the Union death toll—15 percent of Union deaths from disease and less than 3 percent of those killed in battle. Losses among African Americans were high. In the last year and a half and from all reported casualties, approximately 20 percent of all African Americans enrolled in the military died during the Civil War. Notably, their mortality rate was significantly higher than that of white soldiers. While 15.2% of United States Volunteers and just 8.6% of white Regular Army troops died, 20.5% of United States Colored Troops died.
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American Civil War
| 863 |
Casualties
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The United States National Park Service uses the following figures in its official tally of war losses:
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American Civil War
| 863 |
Casualties
|
Union: 853,838
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American Civil War
| 863 |
Casualties
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Confederate: 914,660
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American Civil War
| 863 |
Casualties
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While the figures of 360,000 army deaths for the Union and 260,000 for the Confederacy remained commonly cited, they are incomplete. In addition to many Confederate records being missing, partly as a result of Confederate widows not reporting deaths due to being ineligible for benefits, both armies only counted troops who died during their service and not the tens of thousands who died of wounds or diseases after being discharged. This often happened only a few days or weeks later. Francis Amasa Walker, superintendent of the 1870 census, used census and surgeon general data to estimate a minimum of 500,000 Union military deaths and 350,000 Confederate military deaths, for a total death toll of 850,000 soldiers. While Walker's estimates were originally dismissed because of the 1870 census's undercounting, it was later found that the census was only off by 6.5% and that the data Walker used would be roughly accurate.
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American Civil War
| 863 |
Casualties
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Analyzing the number of dead by using census data to calculate the deviation of the death rate of men of fighting age from the norm suggests that at least 627,000 and at most 888,000, but most likely 761,000 soldiers, died in the war. This would break down to approximately 350,000 Confederate and 411,000 Union military deaths, going by the proportion of Union to Confederate battle losses.
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American Civil War
| 863 |
Casualties
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Deaths among former slaves has proven much harder to estimate, due to the lack of reliable census data at the time, though they were known to be considerable, as former slaves were set free or escaped in massive numbers in an area where the Union army did not have sufficient shelter, doctors, or food for them. University of Connecticut Professor Jim Downs states that tens to hundreds of thousands of slaves died during the war from disease, starvation, or exposure and that if these deaths are counted in the war's total, the death toll would exceed 1 million.
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American Civil War
| 863 |
Casualties
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Losses were far higher than during the recent defeat of Mexico, which saw roughly thirteen thousand American deaths, including fewer than two thousand killed in battle, between 1846 and 1848. One reason for the high number of battle deaths during the war was the continued use of tactics similar to those of the Napoleonic Wars at the turn of the century, such as charging. With the advent of more accurate rifled barrels, Minié balls, and (near the end of the war for the Union army) repeating firearms such as the Spencer Repeating Rifle and the Henry Repeating Rifle, soldiers were mowed down when standing in lines in the open. This led to the adoption of trench warfare, a style of fighting that defined much of World War I.
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American Civil War
| 863 |
Emancipation
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Abolishing slavery was not a Union war goal from the outset, but it quickly became one. Lincoln's initial claims were that preserving the Union was the central goal of the war. In contrast, the South saw itself as fighting to preserve slavery. While not all Southerners saw themselves as fighting for slavery, most of the officers and over a third of the rank and file in Lee's army had close family ties to slavery. To Northerners, in contrast, the motivation was primarily to preserve the Union, not to abolish slavery. However, as the war dragged on, and it became clear that slavery was central to the conflict, and that emancipation was (to quote from the Emancipation Proclamation) "a fit and necessary war measure for suppressing [the] rebellion," Lincoln and his cabinet made ending slavery a war goal, culminating in the Emancipation Proclamation. Lincoln's decision to issue the Emancipation Proclamation angered both Peace Democrats ("Copperheads") and War Democrats, but energized most Republicans. By warning that free blacks would flood the North, Democrats made gains in the 1862 elections, but they did not gain control of Congress. The Republicans' counterargument that slavery was the mainstay of the enemy steadily gained support, with the Democrats losing decisively in the 1863 elections in the Northern state of Ohio when they tried to resurrect anti-black sentiment.
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American Civil War
| 863 |
Emancipation
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Slavery for the Confederacy's 3.5 million blacks effectively ended in each area when Union armies arrived; they were nearly all freed by the Emancipation Proclamation. The last Confederate slaves were freed on June 19, 1865, celebrated as the modern holiday of Juneteenth. Slaves in the border states and those located in some former Confederate territory occupied before the Emancipation Proclamation were freed by state action or (on December 6, 1865) by the Thirteenth Amendment. The Emancipation Proclamation enabled African Americans, both free blacks and escaped slaves, to join the Union Army. About 190,000 volunteered, further enhancing the numerical advantage the Union armies enjoyed over the Confederates, who did not dare emulate the equivalent manpower source for fear of fundamentally undermining the legitimacy of slavery.
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American Civil War
| 863 |
Emancipation
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During the Civil War, sentiment concerning slaves, enslavement, and emancipation in the United States was divided. Lincoln's fears of making slavery a war issue were based on a harsh reality: abolition did not enjoy wide support in the west, the territories, and the border states. In 1861, Lincoln worried that premature attempts at emancipation would mean the loss of the border states, and that "to lose Kentucky is nearly the same as to lose the whole game." Copperheads and some War Democrats opposed emancipation, although the latter eventually accepted it as part of the total war needed to save the Union.
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American Civil War
| 863 |
Emancipation
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At first, Lincoln reversed attempts at emancipation by Secretary of War Simon Cameron and Generals John C. Frémont (in Missouri) and David Hunter (in South Carolina, Georgia, and Florida) to keep the loyalty of the border states and the War Democrats. Lincoln warned the border states that a more radical type of emancipation would happen if his plan of gradual compensated emancipation and voluntary colonization was rejected. But compensated emancipation occurred only in the District of Columbia, where Congress had the power to enact it. When Lincoln told his cabinet about his proposed emancipation proclamation, which would apply to the states still in rebellion on January 1, 1863, Seward advised Lincoln to wait for a Union military victory before issuing it, as to do otherwise would seem like "our last shriek on the retreat". Walter Stahr, however, writes, "There are contemporary sources, however, that suggest others were involved in the decision to delay", and Stahr quotes them.
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American Civil War
| 863 |
Emancipation
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Lincoln laid the groundwork for public support in an open letter published in response to Horace Greeley's "The Prayer of Twenty Millions". He also laid the groundwork at a meeting at the White House with five African American representatives on August 14, 1862. Arranging for a reporter to be present, he urged his visitors to agree to the voluntary colonization of black people, apparently to make his forthcoming preliminary Emancipation Proclamation more palatable to racist white people. A Union victory in the Battle of Antietam on September 17, 1862, provided Lincoln with an opportunity to issue the preliminary Emancipation Proclamation, and the subsequent War Governors' Conference added support for the proclamation.
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American Civil War
| 863 |
Emancipation
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Lincoln issued his preliminary Emancipation Proclamation on September 22, 1862. It stated that the slaves in all states in rebellion on January 1, 1863, would be free. He issued his final Emancipation Proclamation on January 1, 1863, keeping his promise. In his letter to Albert G. Hodges, Lincoln explained his belief that "If slavery is not wrong, nothing is wrong .... And yet I have never understood that the Presidency conferred upon me an unrestricted right to act officially upon this judgment and feeling .... I claim not to have controlled events, but confess plainly that events have controlled me."
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American Civil War
| 863 |
Emancipation
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Lincoln's moderate approach succeeded in inducing the border states to remain in the Union and War Democrats to support the Union. The border states, which included Kentucky, Missouri, Maryland, Delaware, and Union-controlled regions around New Orleans, Norfolk, Virginia, and elsewhere, were not covered by the Emancipation Proclamation. Nor was Tennessee, which had come under Union control. Missouri and Maryland abolished slavery on their own; Kentucky and Delaware did not. Still, the proclamation did not enjoy universal support. It caused much unrest in what were then considered western states, where racist sentiments led to a great fear of abolition. There was some concern that the proclamation would lead to the secession of western states, and its issuance prompted the stationing of Union troops in Illinois in case of rebellion.
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American Civil War
| 863 |
Emancipation
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Since the Emancipation Proclamation was based on the President's war powers, it applied only in territory held by Confederates at the time it was issued. However, the Proclamation became a symbol of the Union's growing commitment to add emancipation to the Union's definition of liberty. The Emancipation Proclamation greatly reduced the Confederacy's hope of being recognized or otherwise aided by Britain or France. By late 1864, Lincoln was playing a leading role in getting the House of Representatives to vote for the Thirteenth Amendment to the United States Constitution, which mandated the ending of chattel slavery.
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American Civil War
| 863 |
Reconstruction
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The war devastated the South and posed serious questions of how the South would be reintegrated into the Union. The war destroyed much of the wealth that had existed in the South, in part because wealth held in enslaved people (valued at a minimum of $1,000 each for a healthy adult prior to the war) was wiped off the books. All accumulated investment in Confederate bonds was forfeited; most banks and railroads were bankrupt. The income per capita in the South dropped to less than 40 percent of that of the North, an economic condition that lasted into the 20th century. Southern influence in the federal government, previously considerable, was greatly diminished until the latter half of the 20th century. Reconstruction began during the war, with the Emancipation Proclamation of January 1, 1863, and it continued until 1877. It comprised multiple complex methods to resolve the outstanding issues of the war's aftermath, the most important of which were the three "Reconstruction Amendments" to the Constitution: the 13th outlawing slavery (1865), the 14th guaranteeing citizenship to former slaves (1868), and the 15th ensuring voting rights to former male slaves (1870). From the Union perspective, the goals of Reconstruction were to consolidate the Union victory on the battlefield by reuniting the Union, to guarantee a "republican form of government" for the ex-Confederate states, and to permanently end slavery—and prevent semi-slavery status.
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American Civil War
| 863 |
Reconstruction
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President Andrew Johnson, who took office on April 15, 1865, took a lenient approach and saw the achievement of the main war goals as realized in 1865 when each ex-rebel state repudiated secession and ratified the Thirteenth Amendment. Radical Republicans demanded proof that Confederate nationalism was dead and that the slaves were truly free. They overrode Johnson's vetoes of civil rights legislation, and the House impeached him, although the Senate did not convict him. In 1868 and 1872, the Republican candidate Ulysses S. Grant won the presidency. In 1872, the "Liberal Republicans" argued that the war goals had been achieved and that Reconstruction should end. They chose Horace Greeley to head a presidential ticket in 1872 but were decisively defeated. In 1874, Democrats, primarily Southern, took control of Congress and opposed further reconstruction. The Compromise of 1877 closed with a national consensus, except perhaps on the part of former slaves, that the Civil War had finally ended. With the withdrawal of federal troops, however, whites retook control of every Southern legislature, and the Jim Crow era of disenfranchisement and legal segregation was ushered in.
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American Civil War
| 863 |
Reconstruction
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The Civil War had a demonstrable impact on American politics in the years to come. Many veterans on both sides were subsequently elected to political office, including five U.S. Presidents: General Ulysses Grant, Rutherford B. Hayes, James Garfield, Benjamin Harrison, and William McKinley.
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American Civil War
| 863 |
Memory and historiography
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The Civil War is one of the central events in American collective memory. There are innumerable statues, commemorations, books, and archival collections. The memory includes the home front, military affairs, the treatment of soldiers, both living and dead, in the war's aftermath, depictions of the war in literature and art, evaluations of heroes and villains, and considerations of the moral and political lessons of the war. The last theme includes moral evaluations of racism and slavery, heroism in combat and heroism behind the lines, and issues of democracy and minority rights, as well as the notion of an "Empire of Liberty" influencing the world.
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American Civil War
| 863 |
Memory and historiography
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Professional historians have paid much more attention to the causes of the war than to the war itself. Military history has largely developed outside academia, leading to a proliferation of studies by non-scholars who nevertheless are familiar with the primary sources and pay close attention to battles and campaigns and who write for the general public. Bruce Catton and Shelby Foote are among the best known. Practically every major figure in the war, both North and South, has had a serious biographical study.
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American Civil War
| 863 |
Memory and historiography
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Even the name used for the conflict has been controversial, with many names for the American Civil War. During and immediately after the war, Northern historians often used a term like "War of the Rebellion". Writers in rebel states often referred to the "War for Southern Independence". More recently, some Southerners have described it as the "War of Northern Aggression".
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American Civil War
| 863 |
Memory and historiography
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The memory of the war in the white South crystallized in the myth of the "Lost Cause": that the Confederate cause was just and heroic. The myth shaped regional identity and race relations for generations. Alan T. Nolan notes that the Lost Cause was expressly a rationalization, a cover-up to vindicate the name and fame of those in rebellion. Some claims revolve around the insignificance of slavery as a cause of the war; some appeals highlight cultural differences between North and South; the military conflict by Confederate actors is idealized; in any case, secession was said to be lawful. Nolan argues that the adoption of the Lost Cause perspective facilitated the reunification of the North and the South while excusing the "virulent racism" of the 19th century, sacrificing black American progress to white man's reunification. He also deems the Lost Cause "a caricature of the truth. This caricature wholly misrepresents and distorts the facts of the matter" in every instance. The Lost Cause myth was formalized by Charles A. Beard and Mary R. Beard, whose The Rise of American Civilization (1927) spawned "Beardian historiography". The Beards downplayed slavery, abolitionism, and issues of morality. Though this interpretation was abandoned by the Beards in the 1940s, and by historians generally by the 1950s, Beardian themes still echo among Lost Cause writers.
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American Civil War
| 863 |
Memory and historiography
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The first efforts at Civil War battlefield preservation and memorialization came during the war itself with the establishment of National Cemeteries at Gettysburg, Mill Springs and Chattanooga. Soldiers began erecting markers on battlefields beginning with the First Battle of Bull Run in July 1861. The oldest surviving monument is the Hazen Brigade Monument near Murfreesboro in Central Tennessee, built in the summer of 1863 by soldiers in Union Col. William B. Hazen's brigade to mark the spot where they buried their dead following the Battle of Stones River.
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American Civil War
| 863 |
Memory and historiography
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In the 1890s, the U.S. government established five Civil War battlefield parks under the jurisdiction of the War Department, beginning with the creation of the Chickamauga and Chattanooga National Military Park at Fort Oglethorpe, Georgia, and the Antietam National Battlefield in Sharpsburg, Maryland in 1890. The Shiloh National Military Park was established in 1894 in Shiloh, Tennessee, followed by the Gettysburg National Military Park in Gettysburg, Pennsylvania in 1895, and Vicksburg National Military Park in Vicksburg, Mississippi in 1899.
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American Civil War
| 863 |
Memory and historiography
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In 1933, these five parks and other national monuments were transferred to the jurisdiction of the National Park Service. Chief among modern efforts to preserve Civil War sites has been the American Battlefield Trust, with more than 130 battlefields in 24 states. The five major Civil War battlefield parks operated by the National Park Service (Gettysburg, Antietam, Shiloh, Chickamauga/Chattanooga and Vicksburg) had a combined 3.1 million visitors in 2018, down 70% from 10.2 million in 1970.
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American Civil War
| 863 |
Memory and historiography
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The American Civil War has been commemorated in many capacities, ranging from the reenactment of battles to statues and memorial halls erected, to films being produced, to stamps and coins with Civil War themes being issued, all of which helped to shape public memory. These commemorations occurred in greater numbers on the 100th and 150th anniversaries of the war. Hollywood's take on the war has been especially influential in shaping public memory, as in such film classics as The Birth of a Nation (1915), Gone with the Wind (1939), and Lincoln (2012). Ken Burns's PBS television series The Civil War (1990) is especially well-remembered, though criticized for its historical inaccuracy.
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American Civil War
| 863 |
Memory and historiography
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Numerous technological innovations during the Civil War had a great impact on 19th-century science. The Civil War was one of the earliest examples of an "industrial war", in which technological might is used to achieve military supremacy in a war. New inventions, such as the train and telegraph, delivered soldiers, supplies and messages at a time when horses were considered to be the fastest way to travel. It was also in this war that aerial warfare, in the form of reconnaissance balloons, was first used. It saw the first action involving steam-powered ironclad warships in naval warfare history. Repeating firearms such as the Henry rifle, Spencer rifle, Colt revolving rifle, Triplett & Scott carbine and others, first appeared during the Civil War; they were a revolutionary invention that would soon replace muzzle-loading and single-shot firearms in warfare. The war also saw the first appearances of rapid-firing weapons and machine guns such as the Agar gun and the Gatling gun.
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American Civil War
| 863 |
In works of culture and art
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The Civil War is one of the most studied events in American history, and the collection of cultural works around it is enormous. This section gives an abbreviated overview of the most notable works.
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Andy Warhol
| 864 |
Andy Warhol (/ˈwɔːrhɒl/; born Andrew Warhola Jr.; August 6, 1928 – February 22, 1987) was an American visual artist, film director, producer, and leading figure in the pop art movement. His works explore the relationship between artistic expression, advertising, and celebrity culture that flourished by the 1960s, and span a variety of media, including painting, silkscreening, photography, film, and sculpture. Some of his best-known works include the silkscreen paintings Campbell's Soup Cans (1962) and Marilyn Diptych (1962), the experimental films Empire (1964) and Chelsea Girls (1966), and the multimedia events known as the Exploding Plastic Inevitable (1966–67).
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Andy Warhol
| 864 |
Born and raised in Pittsburgh, Warhol initially pursued a successful career as a commercial illustrator. After exhibiting his work in several galleries in the late 1950s, he began to receive recognition as an influential and controversial artist. His New York studio, The Factory, became a well-known gathering place that brought together distinguished intellectuals, drag queens, playwrights, Bohemian street people, Hollywood celebrities, and wealthy patrons. He promoted a collection of personalities known as Warhol superstars, and is credited with inspiring the widely used expression "15 minutes of fame".
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Andy Warhol
| 864 |
In the late 1960s, he managed and produced the experimental rock band the Velvet Underground and founded Interview magazine. He authored numerous books, including The Philosophy of Andy Warhol and Popism: The Warhol Sixties. He lived openly as a gay man before the gay liberation movement. In June 1968, he was almost killed by radical feminist Valerie Solanas, who shot him inside his studio. After gallbladder surgery, Warhol died of cardiac arrhythmia in February 1987 at the age of 58 in New York.
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Andy Warhol
| 864 |
Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. The Andy Warhol Museum in his native city of Pittsburgh, which holds an extensive permanent collection of art and archives, is the largest museum in the United States dedicated to a single artist. Warhol has been described as the "bellwether of the art market". Many of his creations are very collectible and highly valuable. His works include some of the most expensive paintings ever sold. In 2013, a 1963 serigraph titled Silver Car Crash (Double Disaster) sold for $105 million. In 2022, Shot Sage Blue Marilyn (1964) sold for $195 million, which is the most expensive work of art sold at auction by an American artist.
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Andy Warhol
| 864 |
Biography
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Warhol was born on August 6, 1928, in Pittsburgh, Pennsylvania. He was the fourth child of Ondrej Warhola (Americanized as Andrew Warhola Sr.; 1889–1942) and Julia (née Zavacká, 1891–1972), whose first child was born in their homeland of Austria-Hungary and died before their move to the US.
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Andy Warhol
| 864 |
Biography
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His parents were working-class Lemko emigrants from Mikó, Austria-Hungary (now called Miková, located in today's northeastern Slovakia). Warhol's father emigrated to the United States in 1914, and his mother joined him in 1921, after the death of Warhol's grandparents. Warhol's father worked in a coal mine. The family lived at 55 Beelen Street and later at 3252 Dawson Street in the Oakland neighborhood of Pittsburgh. The family was Ruthenian Catholic and attended St. John Chrysostom Byzantine Catholic Church. Warhol had two elder brothers—Pavol (Paul), the eldest, was born before the family emigrated; John was born in Pittsburgh. Pavol's son, James Warhola, became a successful children's book illustrator.
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Andy Warhol
| 864 |
Biography
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In third grade, Warhol had Sydenham's chorea (also known as St. Vitus' Dance), the nervous system disease that causes involuntary movements of the extremities, which is believed to be a complication of scarlet fever which causes skin pigmentation blotchiness. At times when he was confined to bed, he drew, listened to the radio and collected pictures of movie stars around his bed. Warhol later described this period as very important in the development of his personality, skill-set and preferences. When Warhol was 13, his father died in an accident.
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Andy Warhol
| 864 |
Biography
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As a teenager, Warhol graduated from Schenley High School in 1945, and also won a Scholastic Art and Writing Award. After graduating from high school, he enrolled in the Carnegie Institute of Technology, now Carnegie Mellon University in Pittsburgh, where he studied commercial art. During his time there, Warhol joined the campus Modern Dance Club and Beaux Arts Society. He also served as art director of the student art magazine, Cano, illustrating a cover in 1948 and a full-page interior illustration in 1949. These are believed to be his first two published artworks. Warhol earned a Bachelor of Fine Arts in pictorial design in 1949. Later that year, he moved to New York City and began a career in magazine illustration and advertising.
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Andy Warhol
| 864 |
Biography
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Warhol's early career was dedicated to commercial and advertising art, where his first commission had been to draw shoes for Glamour magazine in the late 1940s. In the 1950s, Warhol worked as a designer for shoe manufacturer Israel Miller. While working in the shoe industry, Warhol developed his "blotted line" technique, applying ink to paper and then blotting the ink while still wet, which was akin to a printmaking process on the most rudimentary scale. His use of tracing paper and ink allowed him to repeat the basic image and also to create endless variations on the theme. American photographer John Coplans recalled that "nobody drew shoes the way Andy did. He somehow gave each shoe a temperament of its own, a sort of sly, Toulouse-Lautrec kind of sophistication, but the shape and the style came through accurately and the buckle was always in the right place. The kids in the apartment [which Andy shared in New York – note by Coplans] noticed that the vamps on Andy's shoe drawings kept getting longer and longer but [Israel] Miller didn't mind. Miller loved them."
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Andy Warhol
| 864 |
Biography
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In 1952, Warhol had his first solo show at the Hugo Gallery in New York, and although that show was not well received, by 1956, he was included in his first group exhibition at the Museum of Modern Art, New York. Warhol's "whimsical" ink drawings of shoe advertisements figured in some of his earliest showings at the Bodley Gallery in New York in 1957.
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Andy Warhol
| 864 |
Biography
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Warhol habitually used the expedient of tracing photographs projected with an epidiascope. Using prints by Edward Wallowitch, his "first boyfriend", the photographs would undergo a subtle transformation during Warhol's often cursory tracing of contours and hatching of shadows. Warhol used Wallowitch's photograph Young Man Smoking a Cigarette (c. 1956), for a 1958 design for a book cover he submitted to Simon and Schuster for the Walter Ross pulp novel The Immortal, and later used others for his series of paintings.
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Andy Warhol
| 864 |
Biography
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With the rapid expansion of the record industry, RCA Records hired Warhol, along with another freelance artist, Sid Maurer, to design album covers and promotional materials.
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Andy Warhol
| 864 |
Biography
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Warhol was an early adopter of the silk screen printmaking process as a technique for making paintings. In 1961 and 1962, Warhol resided at a 1342 Lexington Avenue apartment/art studio. In 1962, Warhol was taught silk screen printmaking techniques by Max Arthur Cohn at his graphic arts business in Manhattan. In his book Popism: The Warhol Sixties, Warhol writes: "When you do something exactly wrong, you always turn up something."
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Andy Warhol
| 864 |
Biography
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In May 1962, Warhol was featured in an article in Time magazine with his painting Big Campbell's Soup Can with Can Opener (Vegetable) (1962), which initiated his most sustained motif, the Campbell's soup can. That painting became Warhol's first to be shown in a museum when it was exhibited at the Wadsworth Atheneum in Hartford in July 1962. On July 9, 1962, Warhol's exhibition opened at the Ferus Gallery in Los Angeles with Campbell's Soup Cans, marking his West Coast debut of pop art.
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Andy Warhol
| 864 |
Biography
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In November 1962, Warhol had an exhibition at Eleanor Ward's Stable Gallery in New York. The exhibit included the works Gold Marilyn, eight of the classic "Marilyn" series also named "Flavor Marilyns", Marilyn Diptych, 100 Soup Cans, 100 Coke Bottles, and 100 Dollar Bills. Gold Marilyn, was bought by the architect Philip Johnson and donated to the Museum of Modern Art. At the exhibit, Warhol met poet John Giorno, who would star in Warhol's first film, Sleep (1964).
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Andy Warhol
| 864 |
Biography
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In December 1962, New York City's Museum of Modern Art hosted a symposium on pop art, during which artists such as Warhol were attacked for "capitulating" to consumerism. Critics were appalled by Warhol's open acceptance of market culture, which set the tone for his reception.
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Andy Warhol
| 864 |
Biography
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In early 1963, Warhol rented his first studio, an old firehouse at 159 East 87th Street. At this studio, he created his Elvis series, which included Eight Elvises (1963) and Triple Elvis (1963). These portraits along with a series of Elizabeth Taylor portraits were shown at his second exhibition at the Ferus Gallery in Los Angeles. Later that year, Warhol relocated his studio to East 47th Street, which would turn into The Factory. The Factory became a popular gathering spot for a wide range of artists, writers, musicians, and underground celebrities.
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Andy Warhol
| 864 |
Biography
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Warhol had his second exhibition at the Stable Gallery in the spring of 1964, which featured sculptures of commercial boxes stacked and scattered throughout the space to resemble a warehouse. For the exhibition, Warhol custom ordered wooden boxes and silkscreened graphics onto them. The sculptures—Brillo Box, Del Monte Peach Box, Heinz Tomato Ketchup Box, Kellogg's Cornflakes Box, Campbell's Tomato Juice Box, and Mott's Apple Juice Box—sold for $200 to $400 depending on the size of the box.
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Andy Warhol
| 864 |
Biography
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A pivotal event was The American Supermarket exhibition at Paul Bianchini's Upper East Side gallery in the fall of 1964. The show was presented as a typical small supermarket environment, except that everything in it—from the produce, canned goods, meat, posters on the wall, etc.—was created by prominent pop artists of the time, among them sculptor Claes Oldenburg, Mary Inman and Bob Watts. Warhol designed a $12 paper shopping bag—plain white with a red Campbell's soup can. His painting of a can of a Campbell's soup cost $1,500 while each autographed can sold for 3 for $18, $6.50 each. The exhibit was one of the first mass events that directly confronted the general public with both pop art and the perennial question of what art is.
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Andy Warhol
| 864 |
Biography
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In 1967 Warhol established Factory Additions for his printmaking and publishing enterprise.
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Andy Warhol
| 864 |
Biography
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As an advertisement illustrator in the 1950s, Warhol used assistants to increase his productivity. Collaboration would remain a defining (and controversial) aspect of his working methods throughout his career; this was particularly true in the 1960s. One of the most important collaborators during this period was Gerard Malanga. Malanga assisted the artist with the production of silkscreens, films, sculpture, and other works at "The Factory", Warhol's aluminum foil-and-silver-paint-lined studio on 47th Street (later moved to Broadway). Other members of Warhol's Factory crowd included Freddie Herko, Ondine, Ronald Tavel, Mary Woronov, Billy Name, and Brigid Berlin (from whom he apparently got the idea to tape-record his phone conversations).
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Andy Warhol
| 864 |
Biography
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During the 1960s, Warhol also groomed a retinue of bohemian and counterculture eccentrics upon whom he bestowed the designation "superstars", including Nico, Joe Dallesandro, Edie Sedgwick, Viva, Ultra Violet, Holly Woodlawn, Jackie Curtis, and Candy Darling. These people all participated in the Factory films, and some—like Berlin—remained friends with Warhol until his death. Important figures in the New York underground art/cinema world, such as writer John Giorno and film-maker Jack Smith, also appear in Warhol films (many premiering at the New Andy Warhol Garrick Theatre and 55th Street Playhouse) of the 1960s, revealing Warhol's connections to a diverse range of artistic scenes during this time. Less well known was his support and collaboration with several teenagers during this era, who would achieve prominence later in life including writer David Dalton, photographer Stephen Shore and artist Bibbe Hansen (mother of pop musician Beck).
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Andy Warhol
| 864 |
Biography
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On June 3, 1968, radical feminist writer Valerie Solanas shot Warhol and Mario Amaya, art critic and curator, at Warhol's studio, The Factory. Before the shooting, Solanas had been a marginal figure in the Factory scene. She authored the SCUM Manifesto, a separatist feminist tract that advocated the elimination of men; and appeared in the 1968 Warhol film I, a Man. Earlier on the day of the attack, Solanas had been turned away from the Factory after asking for the return of a script she had given to Warhol. The script had apparently been misplaced.
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Andy Warhol
| 864 |
Biography
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Amaya received only minor injuries and was released from the hospital later the same day. Warhol was seriously wounded by the attack and barely survived; he was released after nearly two months. He had physical effects for the rest of his life, including being required to wear a surgical corset. The shooting had a profound effect on Warhol's life and art.
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Solanas was arrested the day after the assault, after turning herself in to police. By way of explanation, she said that Warhol "had too much control over my life". She was subsequently diagnosed with paranoid schizophrenia and eventually sentenced to three years under the control of the Department of Corrections. After the shooting, the Factory scene heavily increased its security, and for many the "Factory 60s" ended ("The superstars from the old Factory days didn't come around to the new Factory much").
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Warhol had this to say about the attack:
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Before I was shot, I always thought that I was more half-there than all-there—I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in movies is unreal, but actually it's the way things happen in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television—you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television.
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Andy Warhol
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In 1969, Warhol and British journalist John Wilcock founded Interview magazine.
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In 1970, screens and film matrixes that had been used to produce original Warhol works in the 1960s were taken to Europe for the production of Warhol screenprints under the name "Sunday B Morning". Warhol signed and numbered one edition of 250 before subsequent unauthorized unsigned versions were produced. The unauthorized works were the result of a falling out between Warhol and some of his New York City studio employees who went to Brussels where they produced work stamped with "Sunday B Morning" and "Add Your Own Signature Here". Since the works began as a collaboration, Warhol facilitated exact duplication by providing the photo negatives and precise color codes. Some of the unauthorized productions bore the markings "This is not by me, Andy Warhol". The most famous unauthorized reproductions are 1967 Marilyn Monroe portfolio screenprints. These "Sunday B Morning" Marilyn Monroe prints were among those still under production as of 2013. Art galleries and dealers also market Sunday B Morning reprint versions of several other screenprint works including Flowers, Campbell's Soup I, Campbell's Soup Cans II,Gold Marilyn Monroe, Mao and Dollare bill prints. Although the original Sunday B Morning versions had black stamps on the back, by the 1980s they switched to blue.
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Warhol had a retrospective exhibition at the Whitney Museum of American Art in 1971. His famous portrait of Chinese Communist leader Mao Zedong was created in 1973. In 1975, he published The Philosophy of Andy Warhol (1975). An idea expressed in the book: "Making money is art, and working is art and good business is the best art."
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Andy Warhol
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Compared to the success and scandal of Warhol's work in the 1960s, the 1970s were a much quieter decade, as he became more entrepreneurial. He socialized at various nightspots in New York City, including Max's Kansas City and, later in the 1970s, Studio 54. He was generally regarded as quiet, shy, and a meticulous observer. Art critic Robert Hughes called him "the white mole of Union Square". In 1977, Warhol was commissioned by art collector Richard Weisman to create Athletes, ten portraits consisting of the leading athletes of the day.
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According to Bob Colacello, Warhol devoted much of his time to rounding up new, rich patrons for portrait commissions—including Shah of Iran Mohammad Reza Pahlavi, his wife Empress Farah Pahlavi, his sister Princess Ashraf Pahlavi, Mick Jagger, Liza Minnelli, John Lennon, Diana Ross, and Brigitte Bardot. In 1979, reviewers disliked his exhibits of portraits of 1970s personalities and celebrities, calling them superficial, facile and commercial, with no depth or indication of the significance of the subjects. In 1979, Warhol and his longtime friend Stuart Pivar founded the New York Academy of Art.
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Warhol had a re-emergence of critical and financial success in the 1980s, partially due to his affiliation and friendships with a number of prolific younger artists, who were dominating the "bull market" of 1980s New York art: Jean-Michel Basquiat, Julian Schnabel, David Salle and other so-called Neo-Expressionists, as well as members of the Transavantgarde movement in Europe, including Francesco Clemente and Enzo Cucchi. Warhol also earned street credibility and graffiti artist Fab Five Freddy paid homage to Warhol by painting an entire train with Campbell soup cans.
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Warhol was also being criticized for becoming merely a "business artist". Critics panned his 1980 exhibition Ten Portraits of Jews of the Twentieth Century at the Jewish Museum in Manhattan, which Warhol—who was uninterested in Judaism and Jews—had described in his diary as "They're going to sell." In hindsight, however, some critics have come to view Warhol's superficiality and commerciality as "the most brilliant mirror of our times", contending that "Warhol had captured something irresistible about the zeitgeist of American culture in the 1970s."
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In 1981, Warhol worked on a project with Peter Sellars and Lewis Allen that would create a traveling stage show called, A No Man Show, with a life-sized animatronic robot in the exact image of Warhol. The Andy Warhol Robot would then be able to read Warhol's diaries as a theatrical production. The play would be based on Warhol's books The Philosophy of Andy Warhol and Exposures. Warhol was quoted as saying, "I'd like to be a machine, wouldn't you?"
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Warhol also had an appreciation for intense Hollywood glamour. He once said: "I love Los Angeles. I love Hollywood. They're so beautiful. Everything's plastic, but I love plastic. I want to be plastic." Warhol occasionally walked the fashion runways and did product endorsements, represented by Zoli Agency and later Ford Models.
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Before the 1984 Sarajevo Winter Olympics, he teamed with 15 other artists, including David Hockney and Cy Twombly, and contributed a Speed Skater print to the Art and Sport collection. The Speed Skater was used for the official Sarajevo Winter Olympics poster.
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In 1984, Vanity Fair commissioned Warhol to produce a portrait of Prince, in order to accompany an article that celebrated the success of Purple Rain and its accompanying movie. Referencing the many celebrity portraits produced by Warhol across his career, Orange Prince (1984) was created using a similar composition to the Marilyn "Flavors" series from 1962, among some of Warhol's first celebrity portraits. Prince is depicted in a pop color palette commonly used by Warhol, in bright orange with highlights of bright green and blue. The facial features and hair are screen-printed in black over the orange background.
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In September 1985, Warhol's joint exhibition with Basquiat, Paintings, opened to negative reviews at the Tony Shafrazi Gallery. That month, despite apprehension from Warhol, his silkscreen series Reigning Queens was shown at the Leo Castelli Gallery. In the Andy Warhol Diaries, Warhol wrote, "They were supposed to be only for Europe—nobody here cares about royalty and it'll be another bad review."
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In January 1987, Warhol traveled to Milan for the opening of his last exhibition, Last Supper, at the Palazzo delle Stelline. The next month, Warhol and jazz musician Miles Davis modeled for Koshin Satoh's fashion show at the Tunnel in New York City on February 17, 1987.
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Warhol died in Manhattan at 6:32 a.m. on February 22, 1987, at age 58. According to news reports, he had been making a good recovery from gallbladder surgery at New York Hospital before dying in his sleep from a sudden post-operative irregular heartbeat. Prior to his diagnosis and operation, Warhol delayed having his recurring gallbladder problems checked, as he was afraid to enter hospitals and see doctors. His family sued the hospital for inadequate care, saying that the arrhythmia was caused by improper care and water intoxication. The malpractice case was quickly settled out of court; Warhol's family received an undisclosed sum of money.
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Shortly before Warhol's death, doctors expected Warhol to survive the surgery, though a re-evaluation of the case about thirty years after his death showed many indications that Warhol's surgery was in fact riskier than originally thought. It was widely reported at the time that Warhol had died of a "routine" surgery, though when considering factors such as his age, a family history of gallbladder problems, his previous gunshot wound, and his medical state in the weeks leading up to the procedure, the potential risk of death following the surgery appeared to have been significant.
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Warhol's brothers took his body back to Pittsburgh, where an open-coffin wake was held at the Thomas P. Kunsak Funeral Home. The solid bronze casket had gold-plated rails and white upholstery. Warhol was dressed in a black cashmere suit, a paisley tie, a platinum wig, and sunglasses. He was laid out holding a small prayer book and a red rose. The funeral liturgy was held at the Holy Ghost Byzantine Catholic Church on Pittsburgh's North Side on February 27, 1987. The eulogy was given by Monsignor Peter Tay. Yoko Ono and John Richardson were speakers. The coffin was covered with white roses and asparagus ferns.
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Andy Warhol
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After the liturgy, the coffin was driven to St. John the Baptist Byzantine Catholic Cemetery in Bethel Park, a south suburb of Pittsburgh, where Warhol was buried near his parents. The priest said a brief prayer at the graveside and sprinkled holy water on the casket. Before the coffin was lowered, Warhol's close friend and associate publisher of Interview, Paige Powell, dropped a copy of the magazine and a bottle of Beautiful Eau de Parfum by Estée Lauder into the grave. A memorial service was held in Manhattan for Warhol at St. Patrick's Cathedral on April 1, 1987.
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By the beginning of the 1960s, pop art was an experimental form that several artists were independently adopting; some of these pioneers, such as Roy Lichtenstein, would later become synonymous with the movement. Warhol, who would become famous as the "Pope of Pop", turned to this new style, where popular subjects could be part of the artist's palette. His early paintings show images taken from cartoons and advertisements, hand-painted with paint drips. Those drips emulated the style of successful abstract expressionists such as Willem de Kooning.
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From these beginnings, he developed his later style and subjects. Instead of working on a signature subject matter, as he started out to do, he worked more and more on a signature style, slowly eliminating the handmade from the artistic process. Warhol frequently used silk-screening; his later drawings were traced from slide projections. At the height of his fame as a painter, Warhol had several assistants, including notable artist George Condo, who produced his silk-screen multiples, following his directions to make different versions and variations.
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Warhol's first pop art paintings were displayed in April 1961, serving as the backdrop for New York Department Store Bonwit Teller's window display. This was the same stage his Pop Art contemporaries Jasper Johns, James Rosenquist and Robert Rauschenberg had also once graced. It was the gallerist Muriel Latow who came up with the ideas for both the soup cans and Warhol's dollar paintings. On November 23, 1961, Warhol wrote Latow a check for $50 which, according to the 2009 Warhol biography, Pop, The Genius of Warhol, was payment for coming up with the idea of the soup cans as subject matter. For his first major exhibition, Warhol painted his famous cans of Campbell's soup, which he claimed to have had for lunch for most of his life.
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It was during the 1960s that Warhol began to make paintings of iconic American objects such as dollar bills, mushroom clouds, electric chairs, Campbell's soup cans, Coca-Cola bottles, celebrities such as Marilyn Monroe, Elvis Presley, and Elizabeth Taylor, as well as newspaper headlines or photographs of police dogs attacking African-American protesters during the Birmingham campaign in the civil rights movement. His work became popular and controversial. Warhol had this to say about Coca-Cola:
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What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca-Cola, and you know that the President drinks Coca-Cola, Liz Taylor drinks Coca-Cola, and just think, you can drink Coca-Cola, too. A Coke is a Coke and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.
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In 1962, Warhol created his famous Marilyn series. The Flavor Marilyns were selected from a group of fourteen canvases in the sub-series, each measuring 20" x 16". Some of the canvases were named after various candy Life Savers flavors, including Cherry Marilyn, Lemon Marilyn, and Licorice Marilyn. The others are identified by their background colors.
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Warhol produced both comic and serious works; his subject could be a soup can or an electric chair. Warhol used the same techniques—silkscreens, reproduced serially, and often painted with bright colors—whether he painted celebrities, everyday objects, or images of suicide, car crashes, and disasters, as in the 1962–63 Death and Disaster series.
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In 1979, Warhol was commissioned to paint a BMW M1 Group 4 racing version for the fourth installment of the BMW Art Car project. He was initially asked to paint a BMW 320i in 1978, but the car model was changed and it didn't qualify for the race that year. Warhol was the first artist to paint directly onto the automobile himself instead of letting technicians transfer a scale-model design to the car. Reportedly, it took him only 23 minutes to paint the entire car. Racecar drivers Hervé Poulain, Manfred Winkelhock and Marcel Mignot drove the car at the 1979 24 Hours of Le Mans.
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Some of Warhol's work, as well as his own personality, has been described as being Keatonesque. Warhol has been described as playing dumb to the media. He sometimes refused to explain his work. He has suggested that all one needs to know about his work is "already there 'on the surface'".
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His Rorschach inkblots are intended as pop comments on art and what art could be. His cow wallpaper (literally, wallpaper with a cow motif) and his oxidation paintings (canvases prepared with copper paint that was then oxidized with urine) are also noteworthy in this context. Equally noteworthy is the way these works—and their means of production—mirrored the atmosphere at Andy's New York "Factory". Biographer Bob Colacello provides some details on Andy's "piss paintings":
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Victor ... was Andy's ghost pisser on the Oxidations. He would come to the Factory to urinate on canvases that had already been primed with copper-based paint by Andy or Ronnie Cutrone, a second ghost pisser much appreciated by Andy, who said that the vitamin B that Ronnie took made a prettier color when the acid in the urine turned the copper green. Did Andy ever use his own urine? My diary shows that when he first began the series, in December 1977, he did, and there were many others: boys who'd come to lunch and drink too much wine, and find it funny or even flattering to be asked to help Andy 'paint'. Andy always had a little extra bounce in his walk as he led them to his studio.
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Warhol's 1982 portrait of Basquiat, Jean-Michel Basquiat, is a silkscreen over an oxidized copper "piss painting". After many years of silkscreen, oxidation, photography, etc., Warhol returned to painting with a brush in hand. In 1983, Warhol began collaborating with Basquiat and Clemente. Warhol and Basquiat created a series of more than 50 large collaborative works between 1984 and 1985. Despite criticism when these were first shown, Warhol called some of them "masterpieces", and they were influential for his later work.
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Andy Warhol
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In 1984, Warhol was commissioned by collector and gallerist Alexander Iolas to produce work based on Leonardo da Vinci's The Last Supper for an exhibition at the old refectory of the Palazzo delle Stelline in Milan, opposite from the Santa Maria delle Grazie where Leonardo da Vinci's mural can be seen. Warhol exceeded the demands of the commission and produced nearly 100 variations on the theme, mostly silkscreens and paintings, and among them a collaborative sculpture with Basquiat, the Ten Punching Bags (Last Supper). The Milan exhibition that opened in January 1987 with a set of 22 silk-screens, was the last exhibition for both the artist and the gallerist. The series of The Last Supper was seen by some as "arguably his greatest", but by others as "wishy-washy, religiose" and "spiritless". It is the largest series of religious-themed works by any American artist.
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Artist Maurizio Cattelan describes that it is difficult to separate daily encounters from the art of Andy Warhol: "That's probably the greatest thing about Warhol: the way he penetrated and summarized our world, to the point that distinguishing between him and our everyday life is basically impossible, and in any case useless." Warhol was an inspiration towards Cattelan's magazine and photography compilations, such as Permanent Food, Charley, and Toilet Paper.
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In the period just before his death, Warhol was working on Cars, a series of paintings for Mercedes-Benz.
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"Though he is often associated with printmaking—specifically silkscreen—Warhol was also an incredibly talented illustrator and draughtsman, and drawing was an integral part of his practice throughout his career. His early drawings on paper bare a resemblance to both continuous line and blind contour drawing techniques, giving his work a sense of ease and immediacy. While working primarily within commercial advertisement, he pioneered the blotted line technique, which synthesized graphite drawing on paper with elements of printmaking. Warhol continued his practice of drawing through the last years of his life and career, and the work from this later period exemplifies a long and storied career's worth of honed skill and technique."
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The value of Andy Warhol's work has been on an endless upward trajectory since his death in 1987. In 2014, his works accumulated $569 million at auction, which accounted for more than a sixth of the global art market. However, there have been some dips. According to art dealer Dominique Lévy, "The Warhol trade moves something like a seesaw being pulled uphill: it rises and falls, but each new high and low is above the last one." She attributes this to the consistent influx of new collectors intrigued by Warhol. "At different moments, you've had different groups of collectors entering the Warhol market, and that resulted in peaks in demand, then satisfaction and a slow down," before the process repeats another demographic or the next generation.
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In 1998, Orange Marilyn (1964), a depiction of Marilyn Monroe, sold for $17.3 million, which at the time set a new record as the highest price paid for a Warhol artwork. In 2007, one of Warhol's 1963 paintings of Elizabeth Taylor, Liz (Colored Liz), which was owned by actor Hugh Grant, sold for $23.7 million at Christie's.
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In 2007, Stefan Edlis and Gael Neeson sold Warhol's Turquoise Marilyn (1964) to financier Steven A. Cohen for $80 million. In May 2007, Green Car Crash (1963) sold for $71.1 million and Lemon Marilyn (1962) sold for $28 million at Christie's post-war and contemporary art auction. In 2007, Large Campbell's Soup Can (1964) was sold at a Sotheby's auction to a South American collector for 7.4 million. In November 2009, 200 One Dollar Bills (1962) at Sotheby's for $43.8 million.
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In 2008, Eight Elvises (1963) was sold by Annibale Berlingieri for $100 million to a private buyer. The work depicts Elvis Presley in a gunslinger pose. It was first exhibited in 1963 at the Ferus Gallery in Los Angeles. Warhol made 22 versions of the Elvis portraits, 11 of which are held in museums. In May 2012, Double Elvis (Ferus Type) sold at auction at Sotheby's for $37 million. In November 2014, Triple Elvis (Ferus Type) sold for $81.9 million at Christie's.
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In May 2010, a purple self-portrait of Warhol from 1986 that was owned by fashion designer Tom Ford sold for $32.6 million at Sotheby's. In November 2010, Men in Her Life (1962), based on Elizabeth Taylor, sold for $63.4 million at Phillips de Pury and Coca-Cola (4) (1962) sold for $35.3 million at Sotheby's. In May 2011, Warhol's first self-portrait from 1963 to 1964 sold for $38.4 million and a red self-portrait from 1986 sold for $27.5 million at Christie's. In May 2011, Liz #5 (Early Colored Liz) sold for $26.9 million at Phillips.
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In November 2013, Warhol's rarely seen 1963 diptych, Silver Car Crash (Double Disaster), sold at Sotheby's for $105.4 million, a new record for the artist. In November 2013, Coca-Cola (3) (1962) sold for $57.3 million at Christie's. In May 2014, White Marilyn (1962) sold for $41 million at Christie's. In November 2014, Four Marlons (1964), which depicts Marlon Brando, sold for $69.6 million at Christie's. In May 2015, Silver Liz (diptych), painted in 1963, sold for $28 million and Colored Mona Lisa (1963) sold for $56.2 million at Christie's. In May 2017, Warhol's 1962 painting Big Campbell's Soup Can With Can Opener (Vegetable) sold for $27.5 million at Christie's. In 2017, billionaire hedge-fund manager Ken Griffin purchased Orange Marilyn privately for around $200 million. In March 2022, Silver Liz (Ferus Type) sold for 2.3 billion yen ($18.9 million) at Shinwa Auction, which set a new record for the highest bid ever at auction in Japan. In May 2022, Shot Sage Blue Marilyn (1964) sold for $195 million at Christie's, becoming the most expensive American artwork sold at auction.
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Among Warhol's early collectors and influential supporters were Emily and Burton Tremaine. Among the over 15 artworks purchased, Marilyn Diptych (now at Tate Modern, London) and A boy for Meg (now at the National Gallery of Art in Washington, DC), were purchased directly out of Warhol's studio in 1962. One Christmas, Warhol left a small Head of Marilyn Monroe by the Tremaine's door at their New York apartment in gratitude for their support and encouragement.
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Andy Warhol
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Warhol attended the 1962 premiere of the static composition by La Monte Young called Trio for Strings and subsequently created his famous series of static films. Filmmaker Jonas Mekas, who accompanied Warhol to the Trio premiere, claims Warhol's static films were directly inspired by the performance. Between 1963 and 1968, he made more than 60 films, plus some 500 short black-and-white "screen test" portraits of Factory visitors.
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One of his most famous films, Sleep, monitors poet John Giorno sleeping for six hours. The 35-minute film Blow Job is one continuous shot of the face of DeVeren Bookwalter supposedly receiving oral sex from filmmaker Willard Maas, although the camera never tilts down to see this. Another, Empire (1964), consists of eight hours of footage of the Empire State Building in New York City at dusk. The film Eat consists of a man eating a mushroom for 45 minutes.
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Andy Warhol
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Batman Dracula is a 1964 film that was produced and directed by Warhol, without the permission of DC Comics. It was screened only at his art exhibits. A fan of the Batman series, Warhol's movie was an "homage" to the series, and is considered the first appearance of a blatantly campy Batman. The film was until recently thought to have been lost, until scenes from the picture were shown at some length in the 2006 documentary Jack Smith and the Destruction of Atlantis.
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Andy Warhol
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Warhol's 1965 film Vinyl is an adaptation of Anthony Burgess' popular dystopian novel A Clockwork Orange. Others record improvised encounters between Factory regulars such as Brigid Berlin, Viva, Edie Sedgwick, Candy Darling, Holly Woodlawn, Ondine, Nico and Jackie Curtis. The underground artist Jack Smith appears in the film Camp.
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