Andy Warhol’s Howdy Doody, part of the Myths series from 1981, is a vibrant color screen print that features a young boy with exaggerated, comical features and bold colors. This series consists of ten works depicting figures from fiction, history, literature, and film, representing iconic elements of 20th-century pop culture. Each character in the series reflects different facets of Warhol’s personality. The Howdy Doody print specifically references The Howdy Doody Show, a popular children’s program that aired from 1947 to 1960.
The boy’s exaggerated facial features—his mouth, nose, and cheeks—are essential to capturing the instantly recognizable commercial aesthetic characteristic of the series. In the standard edition, Warhol places the figure against a dark gray background, emphasizing the primary colors in his bandana, checkered flannel, and gloves. His playful pose and raised arm allude to his role as a marionette on the original television show, which gained widespread popularity and iconic status.
This particular trial proof version is unique, incorporating diamond dust for a three-dimensional effect. Unlike the regular print, the background here is faded and washed out, blending the boy’s features into a more subdued setting. Only his bright blue eyes and checkered shirt stand out as vibrant pops of color, contrasting with the typically bold and bright palette associated with Warhol’s work.
The screen print was created in 1981 on Lenox Museum Board. It is hand-signed by Warhol in pencil and numbered as part of a trial proof edition of 30. It was published by Ronald Feldman Fine Arts, Inc., and printed by Rupert Jasen Smith, both based in New York.
The Myths series, comprising ten screen prints, includes works such as Superman (F.S. 260), Mickey Mouse (F.S. 265), Santa Claus (F.S. 266), The Shadow (F.S. 267), The Star (F.S. 258), Uncle Sam (F.S. 259), The Witch (F.S. 261), Dracula(F.S. 264), Howdy Doody (F.S. 263), and Mammy (F.S. 262). These works are cataloged in Warhol’s raisonné and demonstrate his fascination with cultural icons.
Warhol’s Myths series marked a notable shift in his artistic exploration, reflecting his deep interest in celebrity culture, consumerism, and popular icons. While some may interpret the series as overtly commercial or even “salesy,” it is crucial to consider Warhol’s artistic intentions and context.
In the 1980s, Warhol embraced the idea of art as a commodity, exploring its intersections with commerce and mass culture. His fascination with the influence of media and the rise of celebrity culture fueled the Myths series, which both celebrated and critiqued these phenomena. Drawing from his background in commercial art and advertising, Warhol skillfully used bold, recognizable imagery to captivate and engage audiences. Iconic characters like Superman and Mickey Mouse were already embedded in the public consciousness, making the series both widely relatable and highly marketable.
Although the concept of search engine optimization (SEO) did not exist during Warhol’s time, parallels can be drawn between his approach and modern strategies for visibility. Warhol’s choice of universally recognized figures ensured immediate resonance with a broad audience, inadvertently enhancing the series' appeal in the art market.
Warhol’s use of repetition and serialization in the Myths series further underscored his interest in mass production and the commodification of art. By depicting the same figures with subtle variations, he echoed the assembly-line production of consumer goods, reinforcing the series’ connection to pop culture and commerce.
Ultimately, the Myths series reflects Warhol’s complex perspective on art, fame, and consumerism. It serves as both a critique of the idolization of cultural icons and an acknowledgment of Warhol’s own role in the art market. The series exemplifies his ability to merge artistic innovation with commercial appeal, solidifying his place as a central figure in the dialogue between art and consumer culture.
