One Dollar Bill

1962 · Drawings, Works on Paper · 45.72 × 60.33 cm

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Instituto de Artes de Mineápolis

Minneapolis, Estados Unidos

Pertenece a la colección, pero ahora mismo no está expuesta.

Comprobado: hace 10 horas
En este estado desde: 25 sept 2026
Fuente: Los datos de colección del propio museo

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Sobre la obra

Andy Warhol obsessively documented the world around him, captivating the art world with his Pop-defining iterations of mass-produced images. In 1962, he began to focus on U.S. currency. In this drawing, based on his photographic studies, he transformed the utter ordinariness of a one-dollar bill through altered scale, unusual configuration (the faceted landscape of crumpled paper), and gestural drawing techniques. Even if the dollar bill is readily recognized, the image is seen in a new light—a distinctive, aesthetically pleasing work of art surprising in its power to provoke contemplation.

Instituto de Artes de Mineápolis

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Número de inventario: 91.77

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Instituto de Artes de Mineápolis: the museum's own open data · obtenido hace 6 días
Imagen: Instituto de Artes de Mineápolis — © The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

Mientras tanto, en la vida de Andy Warhol

La vida entera

December 1961
The decision to paint money
After seeing Claes Oldenburg's installation The Store in December 1961, Warhol went home frustrated, feeling his comic-strip paintings were no longer original enough. He accepted Muriel Flatow's tongue-in-cheek advice, given for $50, to paint what he liked most — money — and began painting dollar bills.
1961–1962
Mastering silkscreen
Seeking technical advice, Warhol turned to Floriano Vecchi of Tiber Press, who showed him the basics of silkscreen printing: transferring designs to acetate, preparing screens and pulling ink with a squeegee. The experiments became a turning point and soon led to some of his earliest silkscreen works.
9 July 1962
Soup cans at the Ferus Gallery
The Los Angeles dealer Irving Blum, surprised that Warhol had no gallery, offered him a solo show at the Ferus Gallery. Warhol sent 32 canvases, one for each variety of Campbell's soup; the exhibition opened on 9 July 1962 and marked his West Coast debut.
October 1962
“The New Realists” at the Sidney Janis Gallery
Invited by the dealer Sidney Janis, Warhol took part in the exhibition The New Realists, showing 200 Soup Cans, Big Campbell's Soup Can 19c (Beef Noodle) and Do It Yourself (Flowers). The show was widely seen as a turning point for the acceptance of Pop art: The New Yorker likened its effect on the New York art world to an “earthquake”.
6 November 1962
First solo Pop show in New York
The filmmaker Emile de Antonio introduced Warhol to Eleanor Ward of the Stable Gallery, who agreed to a show in exchange for a painting of a two-dollar bill; the eighteen new works included Marilyn Monroe Twenty Times and Red Elvis. Michael Fried wrote in Art International that of all the painters working in the service of a popular iconography, Warhol was probably the most single-minded and the most spectacular.
1964
The Factory on 47th Street
By 1964 Warhol had moved his studio to 231 East 47th Street, which became known as the Factory; Billy Name covered it in aluminium foil and silver paint. The poet Gerard Malanga helped him with silkscreens and films, and working with assistants became a lasting feature of his method.