He finally gained the financial success and international fame he had longed for. .
Although Andy was identified with Pop art and credited with its invention, this is a misunderstanding of his creative ability. Pop is much more complicated than it seems. In creating Pop art, one must create memorable (although sometimes unrealistic) images and awareness of the unpredictable forces in nature and society in whole. It is not simply the portrayal of popular icons but more of an expression of all that is familiar and accepted American society. Pop art also contains a serious sub-message that is not apparent at first sight. Trewin Copplestone, author of The life and works of Andy Warhol, pointed out that Pop artists were aware of this and exploited it: .
In Warhol's later disaster paintings, for instance, he portrays "illth's in society, as John Ruskin described it in the 19th century, that is the downside of modern civilization that has to be set against the "wealth" - the benefits it brings: for example death and injury that the car brings against its obvious advantages. It is this factor of focus, and not the common artifacts used, that give Pop, and particularly the work of Warhol, its significance. (3) .
During his working career, Andy used several different methods and media for producing his art. He was able to create the same subject in different media and by different methods. Before 1962 he used paint - acrylic or oil - and stencil for his subjects, included the repeated series of images as in Warhol's Campbell Soup" cans (Copplestone 14). After 1962 he used variations of silk-screen process as in Warhol's Roll of Bills (Copplestone 19). .
In 1963, Andy began a wide range of disaster works. Under the advice of Henry Geldzahler (a friend and art critic), who felt that everything wasn't so fabulous in America and that it was time to reflect that in Andy's paintings. Andy took his advice and began painting images of death and chaos.
