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Home / What Best Describes a Dominant Trend in Art and Literature of the 1960s

What Best Describes a Dominant Trend in Art and Literature of the 1960s

Art movement

An image of a sexy woman smiles as a revolver aimed at her head goes "Pop!"

A plain-looking box with the Campbell's label sits on the ground.

Pop art is an fine art motion that emerged in the Great britain and the Usa during the mid- to late-1950s.[1] [2] The movement presented a challenge to traditions of fine art by including imagery from popular and mass culture, such equally advertising, comic books and mundane mass-produced objects. One of its aims is to apply images of pop (equally opposed to elitist) civilization in art, emphasizing the banal or kitschy elements of any civilisation, near often through the use of irony.[3] It is too associated with the artists' use of mechanical ways of reproduction or rendering techniques. In pop art, material is sometimes visually removed from its known context, isolated, or combined with unrelated fabric.[2] [iii]

Amidst the early artists that shaped the pop art move were Eduardo Paolozzi and Richard Hamilton in Britain, and Larry Rivers, Ray Johnson. Robert Rauschenberg and Jasper Johns among others in the United States. Popular fine art is widely interpreted as a reaction to the then-ascendant ideas of abstract expressionism, as well as an expansion of those ideas.[iv] Due to its utilization of found objects and images, it is similar to Dada. Pop art and minimalism are considered to be art movements that precede postmodern art, or are some of the earliest examples of postmodern art themselves.[five]

Pop art often takes imagery that is currently in utilize in advertising. Product labeling and logos figure prominently in the imagery chosen by pop artists, seen in the labels of Campbell'south Soup Cans, by Andy Warhol. Even the labeling on the outside of a shipping box containing nutrient items for retail has been used as bailiwick matter in pop art, as demonstrated by Warhol's Campbell's Tomato Juice Box, 1964 (pictured).

Origins [edit]

The origins of pop art in N America developed differently from Great Britain.[3] In the United states of america, pop art was a response past artists; it marked a render to difficult-edged composition and representational fine art. They used impersonal, mundane reality, irony, and parody to "defuse" the personal symbolism and "painterly looseness" of abstract expressionism.[4] [six] In the U.Southward., some artwork by Larry Rivers, Alex Katz and Human Ray anticipated pop art.[7]

By dissimilarity, the origins of pop art in post-War U.k., while employing irony and parody, were more than academic. Britain focused on the dynamic and paradoxical imagery of American pop culture every bit powerful, manipulative symbolic devices that were affecting whole patterns of life, while simultaneously improving the prosperity of a society.[6] Early pop art in Britain was a matter of ideas fueled by American popular civilisation when viewed from afar.[4] Similarly, pop fine art was both an extension and a repudiation of Dadaism.[4] While pop art and Dadaism explored some of the same subjects, popular art replaced the destructive, satirical, and anarchic impulses of the Dada movement with a discrete affirmation of the artifacts of mass culture.[iv] Among those artists in Europe seen as producing work leading upwardly to pop art are: Pablo Picasso, Marcel Duchamp, and Kurt Schwitters.

Proto-pop [edit]

Although both British and American pop art began during the 1950s, Marcel Duchamp and others in Europe like Francis Picabia and Homo Ray predate the move; in addition there were some earlier American proto-pop origins which utilized "as establish" cultural objects.[four] During the 1920s, American artists Patrick Henry Bruce, Gerald Irish potato, Charles Demuth and Stuart Davis created paintings that contained pop civilization imagery (mundane objects culled from American commercial products and advertizing blueprint), almost "prefiguring" the pop art movement.[8] [nine]

United Kingdom: the Contained Group [edit]

A collage of many different styles shows a mostly naked man and woman in a house.

The Independent Grouping (IG), founded in London in 1952, is regarded as the precursor to the pop art movement.[2] [10] They were a gathering of young painters, sculptors, architects, writers and critics who were challenging prevailing modernist approaches to culture as well every bit traditional views of art. Their grouping discussions centered on pop culture implications from elements such every bit mass advertisement, movies, production design, comic strips, science fiction and technology. At the outset Contained Group coming together in 1952, co-founding fellow member, artist and sculptor Eduardo Paolozzi presented a lecture using a series of collages titled Bunk! that he had assembled during his time in Paris betwixt 1947 and 1949.[2] [x] This fabric of "found objects" such as advertizing, comic book characters, magazine covers and various mass-produced graphics mostly represented American popular culture. One of the collages in that presentation was Paolozzi's I was a Rich Human being'south Plaything (1947), which includes the first employ of the word "pop", appearing in a cloud of smoke emerging from a revolver.[2] [11] Post-obit Paolozzi's seminal presentation in 1952, the IG focused primarily on the imagery of American popular culture, particularly mass advert.[six]

According to the son of John McHale, the term "pop fine art" was first coined by his father in 1954 in chat with Frank Cordell,[12] although other sources credit its origin to British critic Lawrence Alloway.[13] [14] (Both versions concur that the term was used in Contained Group discussions by mid-1955.)

"Pop art" as a moniker was then used in discussions past IG members in the Second Session of the IG in 1955, and the specific term "pop art" first appeared in published print in the commodity "But Today We Collect Ads" by IG members Alison and Peter Smithson in Ark magazine in 1956.[15] However, the term is often credited to British art critic/curator Lawrence Alloway for his 1958 essay titled The Arts and the Mass Media, even though the precise language he uses is "pop mass civilization".[xvi] "Furthermore, what I meant by it then is not what it means now. I used the term, and likewise 'Pop Culture' to refer to the products of the mass media, not to works of art that depict upon popular culture. In any case, erstwhile betwixt the winter of 1954–55 and 1957 the phrase caused currency in conversation..."[17] Nevertheless, Alloway was one of the leading critics to defend the inclusion of the imagery of mass culture in the fine arts. Alloway clarified these terms in 1966, at which time Pop Art had already transited from fine art schools and small galleries to a major force in the artworld. But its success had not been in England. Practically simultaneously, and independently, New York Urban center had become the hotbed for Popular Art.[17]

In London, the almanac Royal Society of British Artists (RBA) exhibition of young talent in 1960 outset showed American pop influences. In January 1961, the nigh famous RBA-Young Contemporaries of all put David Hockney, the American R B Kitaj, New Zealander Billy Apple, Allen Jones, Derek Boshier, Joe Tilson, Patrick Caulfield, Peter Phillips, Pauline Boty and Peter Blake on the map; Apple designed the posters and invitations for both the 1961 and 1962 Immature Contemporaries exhibitions.[18] Hockney, Kitaj and Blake went on to win prizes at the John-Moores-Exhibition in Liverpool in the same year. Apple and Hockney traveled together to New York during the Royal College'due south 1961 summer break, which is when Apple first made contact with Andy Warhol – both afterwards moved to the United states and Apple became involved with the New York pop art scene.[18]

United states of america [edit]

Although pop art began in the early 1950s, in America it was given its greatest impetus during the 1960s. The term "pop art" was officially introduced in December 1962; the occasion was a "Symposium on Popular Art" organized by the Museum of Mod Art.[19] By this time, American advertising had adopted many elements of mod art and functioned at a very sophisticated level. Consequently, American artists had to search deeper for dramatic styles that would altitude fine art from the well-designed and clever commercial materials.[six] As the British viewed American pop civilization imagery from a somewhat removed perspective, their views were often instilled with romantic, sentimental and humorous overtones. By contrast, American artists, bombarded every 24-hour interval with the diversity of mass-produced imagery, produced work that was generally more than bold and aggressive.[10]

A woman's crying face is overwhelmed by waves as she thinks, "I don't care! I'd rather sink than call Brad for help!"

According to historian, curator and critic Henry Geldzahler, "Ray Johnson'due south collages Elvis Presley No. 1 and James Dean stand as the Plymouth Stone of the Pop motion."[xx] Writer Lucy Lippard wrote that "The Elvis ... and Marilyn Monroe [collages] ... heralded Warholian Pop."[21] Johnson worked as a graphic designer, met Andy Warhol by 1956 and both designed several book covers for New Directions and other publishers. Johnson began mailing out whimsical flyers advert his design services printed via offset lithography. He later became known every bit the begetter of mail art equally the founder of his "New York Correspondence School," working pocket-sized by stuffing clippings and drawings into envelopes rather than working larger like his contemporaries.[22] A note about the embrace image in January 1958's Art News pointed out that "[Jasper] Johns' first one-man show ... places him with such amend-known colleagues every bit Rauschenberg, Twombly, Kaprow and Ray Johnson".[23]

Indeed, two other important artists in the establishment of America'southward popular fine art vocabulary were the painters Jasper Johns and Robert Rauschenberg.[10] Rauschenberg, who similar Ray Johnson attended Black Mountain College in North Carolina afterward World War II, was influenced past the earlier work of Kurt Schwitters and other Dada artists, and his belief that "painting relates to both art and life" challenged the ascendant modernist perspective of his time.[24] His use of discarded readymade objects (in his Combines) and pop civilization imagery (in his silkscreen paintings) continued his works to topical events in everyday America.[x] [25] [26] The silkscreen paintings of 1962–64 combined expressive brushwork with silkscreened magazine clippings from Life, Newsweek, and National Geographic. Johns' paintings of flags, targets, numbers, and maps of the U.S. likewise three-dimensional depictions of ale cans drew attention to questions of representation in art.[27] Johns' and Rauschenberg'southward work of the 1950s is oft referred to equally Neo-Dada, and is visually distinct from the prototypical American pop art which exploded in the early 1960s.[28] [29]

Roy Lichtenstein is of equal importance to American pop art. His piece of work, and its use of parody, probably defines the basic premise of pop art better than any other.[10] Selecting the old-fashioned comic strip as subject matter, Lichtenstein produces a hard-edged, precise limerick that documents while too parodying in a soft fashion. Lichtenstein used oil and Magna paint in his best known works, such as Drowning Daughter (1963), which was appropriated from the pb story in DC Comics' Secret Hearts #83. (Drowning Daughter is part of the collection of the Museum of Modern Art.)[thirty] His work features thick outlines, bold colors and Ben-Day dots to represent sure colors, as if created by photographic reproduction. Lichtenstein said, "[abstract expressionists] put things down on the canvas and responded to what they had done, to the color positions and sizes. My way looks completely dissimilar, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock's or Kline'south."[31] Pop art merges pop and mass civilization with art while injecting humor, irony, and recognizable imagery/content into the mix.

The paintings of Lichtenstein, like those of Andy Warhol, Tom Wesselmann and others, share a direct attachment to the commonplace paradigm of American pop culture, but likewise treat the subject in an impersonal style clearly illustrating the idealization of mass production.[10]

Andy Warhol is probably the nigh famous figure in pop fine art. In fact, art critic Arthur Danto in one case chosen Warhol "the nearest matter to a philosophical genius the history of fine art has produced".[nineteen] Warhol attempted to take pop across an artistic style to a life fashion, and his piece of work often displays a lack of homo affectation that dispenses with the irony and parody of many of his peers.[32] [33]

Early U.S. exhibitions [edit]

The Cheddar Cheese sail from Andy Warhol's Campbell's Soup Cans, 1962.

Claes Oldenburg, Jim Dine and Tom Wesselmann had their commencement shows in the Judson Gallery in 1959 and 1960 and later in 1960 through 1964 along with James Rosenquist, George Segal and others at the Green Gallery on 57th Street in Manhattan. In 1960, Martha Jackson showed installations and assemblages, New Media – New Forms featured Hans Arp, Kurt Schwitters, Jasper Johns, Claes Oldenburg, Robert Rauschenberg, Jim Dine and May Wilson. 1961 was the year of Martha Jackson's spring show, Environments, Situations, Spaces.[34] [35] Andy Warhol held his first solo exhibition in Los Angeles in July 1962 at Irving Blum's Ferus Gallery, where he showed 32 paintings of Campell's soup cans, 1 for every flavour. Warhol sold the set of paintings to Blum for $ane,000; in 1996, when the Museum of Modern Art acquired information technology, the set was valued at $15 1000000.[19]

Donald Factor, the son of Max Factor Jr., and an art collector and co-editor of avant-garde literary magazine Nomad, wrote an essay in the mag'south terminal issue, Nomad/New York. The essay was one of the beginning on what would become known every bit pop fine art, though Factor did not use the term. The essay, "Four Artists", focused on Roy Lichtenstein, James Rosenquist, Jim Dine, and Claes Oldenburg.[36]

In the 1960s, Oldenburg, who became associated with the pop fine art movement, created many happenings, which were performance fine art-related productions of that time. The proper noun he gave to his own productions was "Ray Gun Theater". The cast of colleagues in his performances included: artists Lucas Samaras, Tom Wesselmann, Carolee Schneemann, Öyvind Fahlström and Richard Artschwager; dealer Annina Nosei; fine art critic Barbara Rose; and screenwriter Rudy Wurlitzer.[37] His get-go wife, Patty Mucha, who sewed many of his early soft sculptures, was a constant performer in his happenings. This brash, often humorous, approach to art was at great odds with the prevailing sensibility that, by its nature, art dealt with "profound" expressions or ideas. In Dec 1961, he rented a store on Manhattan's Lower Due east Side to house The Store, a calendar month-long installation he had first presented at the Martha Jackson Gallery in New York, stocked with sculptures roughly in the course of consumer goods.[37]

Opening in 1962, Willem de Kooning's New York art dealer, the Sidney Janis Gallery, organized the groundbreaking International Exhibition of the New Realists, a survey of new-to-the-scene American, French, Swiss, Italian New Realism, and British pop art. The fifty-four artists shown included Richard Lindner, Wayne Thiebaud, Roy Lichtenstein (and his painting Blam), Andy Warhol, Claes Oldenburg, James Rosenquist, Jim Dine, Robert Indiana, Tom Wesselmann, George Segal, Peter Phillips, Peter Blake (The Love Wall from 1961), Öyvind Fahlström, Yves Klein, Arman, Daniel Spoerri, Christo and Mimmo Rotella. The evidence was seen by Europeans Martial Raysse, Niki de Saint Phalle and Jean Tinguely in New York, who were stunned past the size and look of the American artwork. Also shown were Marisol, Mario Schifano, Enrico Baj and Öyvind Fahlström. Janis lost some of his abstract expressionist artists when Mark Rothko, Robert Motherwell, Adolph Gottlieb and Philip Guston quit the gallery, but gained Dine, Oldenburg, Segal and Wesselmann.[38] At an opening-night soiree thrown by collector Burton Tremaine, Willem de Kooning appeared and was turned away by Tremaine, who ironically endemic a number of de Kooning's works. Rosenquist recalled: "at that moment I thought, something in the art world has definitely inverse".[19] Turning away a respected abstract creative person proved that, every bit early as 1962, the pop art movement had begun to boss art culture in New York.

A bit before, on the W Coast, Roy Lichtenstein, Jim Dine and Andy Warhol from New York Metropolis; Phillip Hefferton and Robert Dowd from Detroit; Edward Ruscha and Joe Goode from Oklahoma City; and Wayne Thiebaud from California were included in the New Painting of Common Objects show. This starting time pop art museum exhibition in America was curated past Walter Hopps at the Pasadena Fine art Museum.[39] Pop art was ready to change the art world. New York followed Pasadena in 1963, when the Guggenheim Museum exhibited Half-dozen Painters and the Object, curated by Lawrence Alloway. The artists were Jim Dine, Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, James Rosenquist, and Andy Warhol.[40] Another pivotal early exhibition was The American Supermarket organised by the Bianchini Gallery in 1964. The bear witness was presented equally a typical small supermarket surround, except that everything in it—the produce, canned goods, meat, posters on the wall, etc.—was created past prominent pop artists of the fourth dimension, including Apple, Warhol, Lichtenstein, Wesselmann, Oldenburg, and Johns. This project was recreated in 2002 every bit office of the Tate Gallery's Shopping: A Century of Art and Consumer Civilisation.[41]

By 1962, pop artists started exhibiting in commercial galleries in New York and Los Angeles; for some, information technology was their starting time commercial one-man prove. The Ferus Gallery presented Andy Warhol in Los Angeles (and Ed Ruscha in 1963). In New York, the Green Gallery showed Rosenquist, Segal, Oldenburg, and Wesselmann. The Stable Gallery showed R. Indiana and Warhol (in his offset New York show). The Leo Castelli Gallery presented Rauschenberg, Johns, and Lichtenstein. Martha Jackson showed Jim Dine and Allen Stone showed Wayne Thiebaud. By 1966, after the Green Gallery and the Ferus Gallery airtight, the Leo Castelli Gallery represented Rosenquist, Warhol, Rauschenberg, Johns, Lichtenstein and Ruscha. The Sidney Janis Gallery represented Oldenburg, Segal, Dine, Wesselmann and Marisol, while Allen Rock continued to represent Thiebaud, and Martha Jackson continued representing Robert Indiana.[42]

In 1968, the São Paulo 9 Exhibition – Surround United states of americaA.: 1957–1967 featured the "Who's Who" of pop art. Considered as a summation of the classical phase of the American pop fine art period, the exhibit was curated by William Seitz. The artists were Edward Hopper, James Gill, Robert Indiana, Jasper Johns, Roy Lichtenstein, Claes Oldenburg, Robert Rauschenberg, Andy Warhol and Tom Wesselmann.[43]

France [edit]

Nouveau réalisme refers to an artistic movement founded in 1960 by the art critic Pierre Restany[44] and the artist Yves Klein during the first collective exposition in the Apollinaire gallery in Milan. Pierre Restany wrote the original manifesto for the group, titled the "Constitutive Proclamation of New Realism," in April 1960, proclaiming, "Nouveau Réalisme—new ways of perceiving the real."[45] This joint proclamation was signed on 27 October 1960, in Yves Klein'due south workshop, past nine people: Yves Klein, Arman, Martial Raysse, Pierre Restany, Daniel Spoerri, Jean Tinguely and the Ultra-Lettrists, Francois Dufrêne, Raymond Hains, Jacques de la Villeglé; in 1961 these were joined by César, Mimmo Rotella, then Niki de Saint Phalle and Gérard Deschamps. The artist Christo showed with the group. It was dissolved in 1970.[45]

Contemporary of American Pop Art—oftentimes conceived as its transposition in French republic—new realism was along with Fluxus and other groups one of the numerous tendencies of the avant-garde in the 1960s. The group initially chose Prissy, on the French Riviera, as its habitation base since Klein and Arman both originated there; new realism is thus often retrospectively considered by historians to exist an early representative of the École de Nice [fr] movement.[46] In spite of the diversity of their plastic linguistic communication, they perceived a common ground for their work; this beingness a method of direct appropriation of reality, equivalent, in the terms used by Restany; to a "poetic recycling of urban, industrial and advertising reality".[47]

Spain [edit]

In Spain, the study of pop art is associated with the "new figurative", which arose from the roots of the crisis of informalism. Eduardo Arroyo could be said to fit within the popular art trend, on business relationship of his interest in the environment, his critique of our media culture which incorporates icons of both mass media communication and the history of painting, and his contemptuousness for nearly all established artistic styles. Still, the Spanish artist who could be considered about authentically part of "pop" fine art is Alfredo Alcaín, because of the use he makes of pop images and empty spaces in his compositions.

Also in the category of Spanish pop art is the "Relate Team" (El Equipo Crónica), which existed in Valencia between 1964 and 1981, formed by the artists Manolo Valdés and Rafael Solbes. Their movement tin be characterized as "pop" because of its use of comics and publicity images and its simplification of images and photographic compositions. Filmmaker Pedro Almodóvar emerged from Madrid'due south "La Movida" subculture of the 1970s making low upkeep super viii popular fine art movies, and he was later on called the Andy Warhol of Spain by the media at the fourth dimension. In the book Almodovar on Almodovar, he is quoted as saying that the 1950s flick "Funny Confront" was a primal inspiration for his work. Ane popular trademark in Almodovar'due south films is that he always produces a imitation commercial to be inserted into a scene.

New Zealand [edit]

In New Zealand, popular art has predominately flourished since the 1990s, and is often continued to Kiwiana. Kiwiana is a pop-centered, idealised representation of classically Kiwi icons, such as meat pies, kiwifruit, tractors, jandals, Four Square supermarkets; the inherent campness of this is often subverted to signify cultural letters.[48] Dick Frizzell is a famous New Zealand pop creative person, known for using older Kiwiana symbols in ways that parody modern culture. For example, Frizzell enjoys imitating the work of foreign artists, giving their works a unique New Zealand view or influence. This is done to show New Zealand's historically subdued bear on on the world; naive fine art is connected to Aotearoan pop art this way.[49]

This can exist likewise washed in an abrasive and deadpan way, as with Michel Tuffrey'southward famous piece of work Pisupo Lua Afe (Corned Beef 2000). Of Samoan beginnings, Tuffery constructed the work, which represents a bull, out of processed nutrient cans known as pisupo. It is a unique work of western popular fine art considering Tuffrey includes themes of neocolonialism and racism against non-western cultures (signified by the food cans the work is made of, which stand for economic dependence brought on Samoans by the due west). The undeniable indigenous viewpoint makes it stand out confronting more common non-indigenous works of pop art.[50] [51]

One of New Zealand's primeval and famous pop artists is Billy Apple, one of the few not-British members of the Royal Society of British Artists. Featured among the likes of David Hockney, American R.B. Kitaj and Peter Blake in the January 1961 RBA exhibition Immature Contemporaries, Apple tree apace became an iconic international artist of the 1960s. This was before he conceived his moniker of 'Billy Apple tree", and his work was displayed under his nascency name of Barrie Bates. He sought to distinguish himself past appearance as well as name, and so bleached his hair and eyebrows with Lady Clairol Instant Creme Whip. Later, Apple tree was associated with the 1970s Conceptual Fine art motility. [52]

Japan [edit]

In Japan, pop fine art evolved from the nation's prominent avant-garde scene. The use of images of the modern globe, copied from magazines in the photomontage-way paintings produced by Harue Koga in the late 1920s and early 1930s, foreshadowed elements of pop art.[53] The Japanese Gutai movement led to a 1958 Gutai exhibition at Martha Jackson'due south New York gallery that preceded past two years her famous New Forms New Media evidence that put Popular Art on the map.[54] The work of Yayoi Kusama contributed to the development of pop art and influenced many other artists, including Andy Warhol.[55] [56] In the mid-1960s, graphic designer Tadanori Yokoo became one of the most successful pop artists and an international symbol for Japanese pop art. He is well known for his advertisements and creating artwork for pop culture icons such equally commissions from The Beatles, Marilyn Monroe, and Elizabeth Taylor, among others.[57] Another leading pop creative person at that time was Keiichi Tanaami. Iconic characters from Japanese manga and anime take besides get symbols for pop art, such as Speed Racer and Astro Male child. Japanese manga and anime likewise influenced later pop artists such every bit Takashi Murakami and his superflat movement.

Italian republic [edit]

In Italy, by 1964, pop art was known and took different forms, such as the "Scuola di Piazza del Popolo" in Rome, with pop artists such every bit Mario Schifano, Franco Angeli, Giosetta Fioroni, Tano Festa, Claudio Cintoli, and some artworks past Piero Manzoni, Lucio Del Pezzo, Mimmo Rotella and Valerio Adami.

Italian pop art originated in 1950s culture – the works of the artists Enrico Baj and Mimmo Rotella to be precise, rightly considered the forerunners of this scene. In fact, it was around 1958–1959 that Baj and Rotella abandoned their previous careers (which might exist generically defined as belonging to a non-representational genre, despite being thoroughly post-Dadaist), to catapult themselves into a new world of images, and the reflections on them, which was springing up all around them. Rotella'southward torn posters showed an e'er more figurative sense of taste, oft explicitly and deliberately referring to the neat icons of the times. Baj'due south compositions were steeped in contemporary kitsch, which turned out to exist a "gilded mine" of images and the stimulus for an entire generation of artists.

The novelty came from the new visual panorama, both inside "domestic walls" and out-of-doors. Cars, road signs, television, all the "new world", everything can belong to the world of art, which itself is new. In this respect, Italian pop fine art takes the same ideological path every bit that of the international scene. The just thing that changes is the iconography and, in some cases, the presence of a more critical attitude toward it. Even in this example, the prototypes tin can exist traced back to the works of Rotella and Baj, both far from neutral in their relationship with society. Yet this is non an exclusive element; there is a long line of artists, including Gianni Ruffi, Roberto Barni, Silvio Pasotti, Umberto Bignardi, and Claudio Cintoli, who accept on reality as a toy, equally a great pool of imagery from which to describe fabric with disenchantment and frivolity, questioning the traditional linguistic role models with a renewed spirit of "allow me have fun" à la Aldo Palazzeschi.[58]

Belgium [edit]

In Kingdom of belgium, pop art was represented to some extent by Paul Van Hoeydonck, whose sculpture Fallen Astronaut was left on the Moon during one of the Apollo missions, as well as past other notable pop artists. Internationally recognized artists such as Marcel Broodthaers ( 'vous êtes doll? "), Evelyne Axell and Panamarenko are indebted to the pop fine art motion; Broodthaers'southward great influence was George Segal. Another well-known creative person, Roger Raveel, mounted a birdcage with a real live pigeon in one of his paintings. By the finish of the 1960s and early 1970s, popular art references disappeared from the work of some of these artists when they started to prefer a more critical attitude towards America because of the Vietnam War'southward increasingly gruesome graphic symbol. Panamarenko, however, has retained the irony inherent in the pop art motion upward to the present mean solar day. Evelyne Axell from Namur was a prolific pop-creative person in the 1964–1972 period. Axell was one of the first female pop artists, had been mentored by Magritte and her best-known painting is Ice Cream.[59]

Netherlands [edit]

While at that place was no formal popular art move in kingdom of the netherlands, there were a group of artists that spent time in New York during the early on years of pop fine art, and drew inspiration from the international pop art movement. Representatives of Dutch pop art include Daan van Golden, Gustave Asselbergs, Jacques Frenken, Jan Cremer, Wim T. Schippers, and Woody van Amen. They opposed the Dutch petit bourgeois mentality by creating humorous works with a serious undertone. Examples of this nature include Sexual activity O'Clock, by Woody van Amen, and Crucifix / Target, by Jacques Frenken.[lx]

Russia [edit]

Russian federation was a niggling late to get part of the pop art movement, and some of the artwork that resembles pop art only surfaced around the early 1970s, when Russia was a communist country and bold artistic statements were closely monitored. Russia's own version of pop art was Soviet-themed and was referred to as Sots Fine art. After 1991, the Communist Party lost its power, and with it came a freedom to limited. Pop art in Russia took on another class, epitomised past Dmitri Vrubel with his painting titled My God, Help Me to Survive This Deadly Dearest in 1990. It might be argued that the Soviet posters made in the 1950s to promote the wealth of the nation were in itself a class of popular fine art.[61]

Notable artists [edit]

  • Billy Apple (1935-2021)
  • Evelyne Axell (1935–1972)
  • Sir Peter Blake (born 1932)
  • Derek Boshier (built-in 1937)
  • Pauline Boty (1938–1966)
  • Patrick Caulfield (1936–2005)
  • Allan D'Arcangelo (1930–1998)
  • Jim Dine (born 1935)
  • Burhan Dogancay (1929–2013)
  • Rosalyn Drexler (born 1926)
  • Robert Dowd (1936–1996)
  • Ken Elias (built-in 1944)
  • Erró (born 1932)
  • Marisol Escobar (1930–2016)
  • James Gill (born 1934)
  • Dorothy Grebenak (1913-1990)
  • Red Grooms (born 1937)
  • Richard Hamilton (1922–2011)
  • Keith Haring (1958–1990)
  • Jann Haworth (born 1942)
  • David Hockney (born 1937)
  • Dorothy Iannone (built-in 1933)
  • Robert Indiana (1928–2018)
  • Jasper Johns (built-in 1930)
  • Ray Johnson (1927-1995)
  • Allen Jones (born 1937)
  • Alex Katz (built-in 1927)
  • Corita Kent (1918–1986)
  • Konrad Klapheck (born 1935)
  • Kiki Kogelnik (1935–1997)
  • Nicholas Krushenick (1929–1999)
  • Yayoi Kusama (born 1929)
  • Gerald Laing (1936–2011)
  • Roy Lichtenstein (1923–1997)
  • Richard Lindner (1901–1978)
  • John McHale (1922–1978)
  • Peter Max (born 1937)
  • Marta Minujin (born 1943)
  • Claes Oldenburg (born 1929)
  • Julian Opie (born 1958)
  • Eduardo Paolozzi (1924–2005)
  • Peter Phillips (born 1939)
  • Sigmar Polke (1941–2010)
  • Hariton Pushwagner (1940–2018)
  • Mel Ramos (1935–2018)
  • Robert Rauschenberg (1925–2008)
  • Larry Rivers (1923–2002)
  • James Rizzi (1950–2011)
  • James Rosenquist (1933–2017)
  • Niki de Saint Phalle (1930–2002)
  • Peter Saul (born 1934)
  • George Segal (1924–2000)
  • Colin Self (born 1941)
  • Marjorie Strider (1931–2014)
  • Elaine Sturtevant (1924-2014)
  • Wayne Thiebaud (born 1920)
  • Joe Tilson (born 1928)
  • Andy Warhol (1928–1987)
  • Idelle Weber (1932–2020)
  • John Wesley (born 1928)
  • Tom Wesselmann (1931–2004)

Come across also [edit]

  • Art pop
  • Chicago Imagists
  • Ferus Gallery
  • Sidney Janis
  • Leo Castelli
  • Light-green Gallery
  • New Painting of Common Objects
  • Figuration Libre (art move)
  • Lowbrow (fine art movement)
  • Nouveau réalisme
  • Neo-popular
  • Op fine art
  • Plop fine art
  • Retro fine art
  • Superflat
  • SoFlo Superflat

References [edit]

  1. ^ Pop Art: A Brief History, MoMA Learning
  2. ^ a b c d eastward Livingstone, G., Pop Art: A Standing History, New York: Harry Due north. Abrams, Inc., 1990
  3. ^ a b c de la Croix, H.; Tansey, R., Gardner's Art Through the Ages, New York: Harcourt Brace Jovanovich, Inc., 1980.
  4. ^ a b c d eastward f Piper, David. The Illustrated History of Art, ISBN 0-7537-0179-0, p486-487.
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  11. ^ "'I was a Rich Man's Plaything', Sir Eduardo Paolozzi". Tate. 2015-12-x. Retrieved 2015-12-xxx .
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  15. ^ Alison and Peter Smithson, "But Today We Collect Ads", reprinted on page 54 in Modern Dreams The Rise and Fall of Popular, published past ICA and MIT, ISBN 0-262-73081-ii
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  17. ^ a b Klaus Honnef, Popular Art, Taschen, 2004, p. half dozen, ISBN 3822822183
  18. ^ a b Barton, Christina (2010). Billy Apple: British and American Works 1960–69. London: The Mayor Gallery. pp. 11–21. ISBN978-0-9558367-3-2.
  19. ^ a b c d Scherman, Tony. "When Pop Turned the Fine art World Upside Downwardly." American Heritage 52.one (February 2001), 68.
  20. ^ Geldzahler, Henry in Pop Fine art: 1955–1970 catalogue, Fine art Gallery of New South Wales, Sydney, 1985
  21. ^ Lippard, Lucy in Ray Johnson: Correspondences catalogue, Wexner Center/Whitney Museum, 2000
  22. ^ Bloch, Mark. "An Illustrated Introduction to Ray Johnson 1927-1995", 1995
  23. ^ Author unknown. "(Table of contents, Untitled note about comprehend.)", Fine art News, vol. 56, no. 9, January 1958
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  25. ^ "Art: Pop Art – Cult of the Commonplace". Fourth dimension. 1963-05-03. ISSN 0040-781X. Retrieved 2020-07-07 . Robert Rauschenberg, 37, remembers an fine art instructor who 'taught me to think, "Why not?"' Since Rauschenberg is considered to be a pioneer in pop art, this is probably where the move went off on its item tangent. Why not brand art out of onetime newspapers, $.25 of habiliment, Coke bottles, books, skates, clocks?
  26. ^ Sandler, Irving H. The New York School: The Painters and Sculptors of the Fifties, New York: Harper & Row, 1978. ISBN 0-06-438505-1 pp. 174–195, Rauschenberg and Johns; pp. 103–111, Rivers and the gestural realists.
  27. ^ Rosenthal, Nan (October 2004). "Jasper Johns (born 1930) In Heilbrunn Timeline of Art History". The Metropolitan Museum of Fine art . Retrieved May 2, 2021.
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  45. ^ a b Kerstin Stremmel, Realism, Taschen, 2004, p. 13. ISBN 3-8228-2942-0
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Further reading [edit]

  • Bloch, Mark. The Brooklyn Rail. "Gutai: 1953 –1959", June 2018.
  • Diggory, Terence (2013) Encyclopedia of the New York School Poets (Facts on File Library of American Literature). ISBN 978-i-4381-4066-seven
  • Francis, Mark and Foster, Hal (2010) Pop. London and New York: Phaidon.
  • Haskell, Barbara (1984) BLAM! The Explosion of Pop, Minimalism and Performance 1958–1964. New York: W.W. Norton & Company, Inc. in association with the Whitney Museum of American Art.
  • Lifshitz, Mikhail, The Crisis of Ugliness: From Cubism to Pop-Art. Translated and with an Introduction past David Riff. Leiden: BRILL, 2018 (originally published in Russian by Iskusstvo, 1968).
  • Lippard, Lucy R. (1966) Pop Art, with contributions by Lawrence Alloway, Nancy Marmer, Nicolas Calas, Frederick A. Praeger, New York.
  • Selz, Peter (moderator); Ashton, Dore; Geldzahler, Henry; Kramer, Hilton; Kunitz, Stanley and Steinberg, Leo (Apr 1963) "A symposium on Pop Fine art" Arts Mag, pp. 36–45. Transcript of symposium held at the Museum of Mod Art on December xiii, 1962.

External links [edit]

  • Pop Art: A Brief History, MoMA Learning
  • Pop Art in Modern and Contemporary Art, The Met
  • Brooklyn Museum Exhibitions: Seductive Subversion: Women Pop Artists, 1958–1968, Oct. 2010-Jan. 2011
  • Brooklyn Museum, Wiki/Popular (Women Pop Artists)
  • Tate Glossary term for Popular art

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Source: https://en.wikipedia.org/wiki/Pop_art