Until the early ’60s, Warhol was a successful commercial illustrator. Its elegant and detailed designs for the shoe company I. Millar were particularly popular. These ink drawings, line quite outspoken, alternated with monoprint impressions (similar to a monotype) it had applied extensively in its first stage as an artist. Although this position between the artistic and commercial world was not uncommon, it is true that for reasons of prestige most artists had their status discreetly advertising professionals. In fact, Warhol’s fame as an illustrator meant at first an obstacle to its consideration as an artist. By then tried to expose some of the drawings made with these techniques in art galleries, but their attempts were unsuccessful.By this time some of their questions about the status of art and its relationship to the market: Since then, criticize their separation and tried to interpret the commercial culture and popular as an artistic theme. Pop art was already a germinal state current that some artists explored in isolation, some of these pioneers such as Roy Lichtenstein or Warhol himself (which would become known as “Pope of Pop”) would become over time synonymous with pop. Warhol became involved in this artistic movement by images taken from cartoons and television ads that painted with careful paint splatters. These splashes emulated the look of American abstract expressionism, then much in vogue.Warhol would eventually removing references to your images to reduce the representation of an iconic brand, celebrity, or a dollar sign, also removed any trace of the artist’s hand in his paintings. This was in some sense art returning the value of mental thing, as Leonardo had already defined the Renaissance. Warhol extrapolated his deep knowledge of the commercial world in his artistic side. So, I sensed that define a market niche was the end of the artistic set a theme. The cartoons and comic books had already been used by Lichtenstein, typography language was part of Jasper Johns and Warhol also wanted to define their own distinctive aesthetic. His friends advised him to paint the things I loved: In his peculiar way of taking things literally, for his first major exhibition he painted the famous Campbell soup cans, which he claimed had been the most frequent lunch throughout his life .The work was sold for 10,000 at an auction held on 17 November 1971 in the headquarters of Sotheby’s in New York a bargain price when compared to the 6 million more recently derived by the same work. But Warhol also loved celebrities, and therefore decided to paint them. These first steps in the art world were gradually defining their personal stamp, which was precisely to avoid the imprint of the artist in person benefit of some issues but were considered “anti-art” were the essence of the culture of society welfare state. Warhol frequently used screen printing, and when he had made it modeled on a slide. According to enhance their career as a painter, Warhol hired several assistants who helped to process their images, following his instructions to make changes and modifications on the same topic.In 1979, Warhol received from BMW commissioned to paint a race car BMW M1 racing for the fourth exhibition of the “BMW Art Car.” Unlike the three artists who had preceded him, Warhol initially declined to use a scale model, and began to paint directly on the vehicle. It is said that Warhol took a total of 23 minutes to paint the entire car. Warhol took a more serious tone after the attack suffered in 1968. A comic trend coexisted with a more solemn, and therefore his work can be found in comic vignettes or electric chairs, interchangeably. Moreover, Warhol used the same techniques, screen printing, offset, flat-toned paint with bright colors, to represent their beloved celebrities, everyday objects, car accidents, suicides and disasters pictures as proof the series “Death and Disaster “carried out between 1962 and 1963.The paintings in this series, like “Car Accident in red,” “Men purple jumping” or “Orange Disaster” – transform personal tragedies into public spectacles, and advertise the use of images of catastrophe that would become inherent to the culture of mass media. The unifying element in Warhol’s work is his deadpan style and construction of a seemingly unflappable character, Buster Keaton as an art. These features were highlighted by Warhol’s personality, preferring to pretend to be stupid the media and refused to give explanations about their work.