Campbell's Soup Can (Tomato) - Andy Warhol
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A classic Pop Art screenprint by Andy Warhol, featuring a Campbell's Tomato Soup can rendered in bold, non-naturalistic colours.
Andy Warhol produced this screenprint as part of a larger portfolio exploring the iconography of American consumer culture. By selecting a ubiquitous grocery item, Warhol removed the subject from its original context, placing it within the realm of fine art. The work relies on the mechanical process of screenprinting, which allowed for the repetition of imagery and the use of flat, unmodulated colour fields.
The composition focuses on the cylindrical form of the soup tin, rendered with a simplified perspective. The iconic Campbell's label is divided into its traditional horizontal bands, featuring the brand name in its familiar script, the word 'Condensed', and the central medallion. Warhol subverts the original branding by applying non-naturalistic, high-contrast colours, such as the bright pink background. This choice shifts the viewer's focus from the product itself to the formal qualities of the design and the nature of mass production.
Warhol's approach to this subject matter reflects his interest in the democratisation of art. By elevating a mundane object to the status of a gallery piece, he questioned the boundaries between high culture and commercial design. The screenprint medium was essential to this project, as it enabled the creation of multiple versions of the same image, mirroring the industrial manufacturing process of the soup can itself. This specific print captures the aesthetic of the 1960s, where commercial graphic design began to influence the visual language of contemporary art. The work remains a clear example of how everyday objects can be recontextualised through colour and repetition to provoke a new way of seeing the familiar.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Campbell's Soup Can (Tomato) - Andy Warhol
Artist Biography
Andy Warhol
He moved to New York after graduating from Carnegie Tech in 1949 and spent the 1950s as a commercial illustrator. He was successful at it: shoe drawings for I. Miller, album covers, magazine illustrations. The work was loose, charming, and camp. He won awards. But commercial art was not taken seriously, and Warhol wanted to be taken seriously.
The Campbell's Soup Cans came in 1962. Thirty-two canvases, one for each flavour. Then Marilyn, then Elvis, then the car crashes and electric chairs. The technique was silk-screen printing: photographic images transferred to canvas through a mesh screen and printed in flat, commercial colours. The process removed the artist's hand almost entirely, which was the point. Warhol made art that looked like it had been manufactured, in a culture that manufactured everything.
The Factory, his silver-foiled studio on East 47th Street, became the centre of a scene that included musicians, actors, drag queens, socialites, and addicts, sometimes all at once. He made films. He started Interview magazine. He managed the Velvet Underground. He was shot by Valerie Solanas in 1968 and nearly died; he wore a surgical corset for the rest of his life.
His late work, often dismissed, includes the Oxidation Paintings (made with urine on metallic paint), the Shadow series, and the Last Supper paintings. He died in 1987 after gallbladder surgery, at fifty-eight. His estate was valued at around 600 million dollars.
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