Andy Warhol's Red Beard - influence of Ben Shahn and Shirley Temple on Warhol

(16.) "Peewee's Progress," Time, Apr. 27, 1936, cover, 36-44.

(17.) Ibid. A writer in Ladies' Home Journal commented, "When she was born the doctor had no way of knowing the celestial script called for him to say, not 'It's a girl' but 'It's a gold mine'"; quoted in Eckert, 46.

(18.) Bourdon, 17; Bockris, 41; Shirley Temple Black, Child Star: An Autobiography (New York: McGraw-Hill, 1988), 51.

(19.) Truman Capote, quoted in Edie, an American Biography. ed. Jean Stein and George Plimpton (New York: Alfred A. Knopf, 1982), 196. Capote also reports receiving fan letters from Warhol every day, often including illustrations of his stories, and noting Warhol regularly standing outside his building waiting to see him come and go. The catalyst for Warhol's shift in affections was a poster-size blowup of Capote's sexualized portrait from the back cover of his 1948 book Other Voices, Other Rooms. Bockris, 22; Bourdon, 17.

(20.) Bockris, 39, 44; Guiles, 15.

(21.) Bockris, 46.

(22.) Joseph Fitzpatrick, quoted in ibid., 30.

(23.) Greenberg summed up his view as follows: "This art is not important, is essentially beside the point as far as ambitious present-day painting is concerned, and is much more derivative than it seems at first glance. There is a poverty of culture and resources, a pinchedness, a resignation to the minor, a certain desire for 'quick' acceptance--all of which the scale and cumulative evidence of the present show make more obvious"; Greenberg, Clement Greenberg: The Collected Essays. vol. 2, Arrogant Purpose, 1945-1949, ed. John O'Brian (Chicago: University of Chicago Press, 1986), 174; and Francis K. Pohl, Ben Shahn: New Deal Artist in a Cold War Climate, 1947-1954 (Austin: University of Texas Press, 1989), 72.

(24.) Robert Lepper to Rainer Crone, Jan. 1974, p. 3, Lepper archive, box 2, ff. 7. The Shahn retrospective opened the fall season of 1947 at the Museum of Modern Art.

(25.) "We used him primarily because he had a style and a technique that was very reminiscent of Ben Shahn, [who] was a lot more expensive and [who was] not available," said one, "it was such an obvious knock-off of Ben Shahn." "Ben Shahn did a lot of work for [the Upjohn Company]," said another, "and they looked upon Andy as a cheaper Ben Shahn.... people used him when they couldn't get Ben Shahn." "Andy Warhol had the visual impact I wanted," said still another, "There's a gritty quality about the style.... Shahn brought the same thing to it; that's why I cast Andy in that role"; Peter Palazzo, quoted in Smith (as in n. 7), 108; George Klauber, quoted in ibid., 28; and Lou Dorfsman, quoted in "Success Is a Job in New York...": The Early Art and Business of Andy Warhol, exh. cat., Grey Art Gallery, New York University, New York, and Carnegie Museum of Art, Pittsburgh, 1989, 53.

(26.) The high visibility of this campaign provided exposure, and the blottedink drawing style and social-issue subject matter cast Warhol in the mold of Shahn as an artist with ethical purpose and critical sensibility who also happened to do commercial illustration. As Lou Dorfsman, the art director at CBS who hired him, put it, "[I] wouldn't give Andy Warhol or Ben Shahn the 'Dick van Dyke Show' or 'Mary Tyler Moore Show' to do.... Warhol was at a higher level than prime time entertainment" (quoted in "Success Is a Job in New York" [as in n. 25], 36). The award was the Art Director's Club Medal for Newspaper Advertising Art, presented May 13, 1952, to Andrew Warhol, artist; Lou Dorfsman, art director; CBS Radio, advertiser. Warhol sometime later inscribed on the cover of the envelope containing this award, "Andrew Warhol, her medal." Trevor Fairbrother, "Tomorrow's Man," in ibid., 72.