Exhibition room 5. Andy Warhol

[...] Derived from popular culture, Pop art revolutionized the art scene in the late 1950s. From telephones to soup cans, what made things pop was their everyday flavor and familiarity. Prior to the pop explosion, art was assumed to be something highbrow. Pop artists, however, loved the banal--the things that Warhol said, “anybody walking down Broadway could recognize in a split second.” The world of Pop that engaged Warhol was distinctly American and reflected the burgeoning commercialism and vitality of post World War II America.

Source: The Warhol Museum www.warhol.org/collection/aboutandy/career

The 1980s exhibitions of Picasso’s late work helped a growing number of artists to put aside the commonplace visions of Picasso’s late years as an older, irrelevant artist, and they begun to be won over, by both the pictures themselves and the impassioned advocacy of the curators, especially Gert Schiff, who held back nothing:

Picasso was a genius. He was also a man endowed with an ardent soul, with passions and drives stronger and more persistent than those of most ordinary humans. To the last, he poured all his impassioned humanity into his art. Thus, his last works teach us something that cannot be deduced from the more detached works of other giants in their old age.

Schiff’s exhibition presented a radically different Picasso, one who challenged Western painting traditions from within rather than by raiding other cultures. Among the artists whose eyes were opened was Andy Warhol, who, in both an acknowledgment of his longstanding respect for Picasso and a challenge to that artist’s phenomenal productivity, returned to wielding a brush in a large series of paintings based on reproductions of Picasso’s late serial drawings.

Source: exhibition catalogue for “Post-Picasso: Contemporary Reactions,” Michael FitzGerald