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Art motion

Pop art is an fine art movement that emerged in the United Kingdom and the United States during the mid- to late-1950s.^{[1] [2]} The movement presented a claiming to traditions of fine art by including imagery from popular and mass culture, such as advertising, comic books and mundane mass-produced objects. One of its aims is to employ images of popular (as opposed to elitist) civilization in fine art, emphasizing the banal or kitschy elements of whatever civilisation, most often through the utilize of irony.^[3] Information technology is also associated with the artists' utilise of mechanical ways of reproduction or rendering techniques. In pop art, textile is sometimes visually removed from its known context, isolated, or combined with unrelated textile.^{[2] [iii]}

Amongst the early artists that shaped the pop art movement were Eduardo Paolozzi and Richard Hamilton in Britain, and Larry Rivers, Ray Johnson. Robert Rauschenberg and Jasper Johns amongst others in the Usa. Pop fine art is widely interpreted as a reaction to the then-ascendant ideas of abstract expressionism, every bit well as an expansion of those ideas.^[iv] Due to its utilization of found objects and images, information technology is like to Dada. Pop art and minimalism are considered to be fine art movements that precede postmodern art, or are some of the primeval examples of postmodern art themselves.^[v]

Pop fine art often takes imagery that is currently in use in advertising. Product labeling and logos effigy prominently in the imagery called by pop artists, seen in the labels of Campbell'south Soup Cans, past Andy Warhol. Even the labeling on the outside of a shipping box containing food items for retail has been used every bit discipline matter in pop fine art, equally demonstrated by Warhol's Campbell'southward Tomato Juice Box, 1964 (pictured).

Origins [edit]

The origins of pop fine art in North America developed differently from Great Britain.^[3] In the United States, pop art was a response by artists; it marked a return 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] [6]} In the U.Southward., some artwork by Larry Rivers, Alex Katz and Man Ray anticipated popular art.^[seven]

By dissimilarity, the origins of pop art in mail service-War Britain, while employing irony and parody, were more bookish. Britain focused on the dynamic and paradoxical imagery of American pop civilization equally 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 thing of ideas fueled by American popular culture when viewed from afar.^[4] Similarly, popular art was both an extension and a repudiation of Dadaism.^[4] While popular art and Dadaism explored some of the aforementioned subjects, pop art replaced the destructive, satirical, and anarchic impulses of the Dada movement with a detached affirmation of the artifacts of mass civilization.^[4] Among those artists in Europe seen as producing piece of work leading up to popular fine art are: Pablo Picasso, Marcel Duchamp, and Kurt Schwitters.

Proto-pop [edit]

Although both British and American pop fine art began during the 1950s, Marcel Duchamp and others in Europe like Francis Picabia and Human Ray predate the movement; in addition there were some earlier American proto-popular origins which utilized "as constitute" cultural objects.^[4] During the 1920s, American artists Patrick Henry Bruce, Gerald Murphy, Charles Demuth and Stuart Davis created paintings that contained pop culture imagery (mundane objects culled from American commercial products and advertising design), almost "prefiguring" the pop art movement.^{[8] [9]}

United Kingdom: the Contained Group [edit]

The Independent Group (IG), founded in London in 1952, is regarded equally the precursor to the pop fine art movement.^{[2] [10]} They were a gathering of immature painters, sculptors, architects, writers and critics who were challenging prevailing modernist approaches to civilisation too every bit traditional views of fine fine art. Their group discussions centered on popular civilization implications from elements such as mass advertising, movies, product design, comic strips, science fiction and technology. At the beginning Independent Group meeting in 1952, co-founding member, creative person and sculptor Eduardo Paolozzi presented a lecture using a series of collages titled Bunk! that he had assembled during his fourth dimension in Paris between 1947 and 1949.^{[ii] [10]} This material of "found objects" such as advert, comic book characters, mag covers and various mass-produced graphics mostly represented American popular culture. I of the collages in that presentation was Paolozzi'due south I was a Rich Man's Plaything (1947), which includes the kickoff employ of the word "pop", appearing in a cloud of smoke emerging from a revolver.^{[2] [eleven]} Post-obit Paolozzi'southward seminal presentation in 1952, the IG focused primarily on the imagery of American pop civilisation, especially mass advertising.^[6]

Co-ordinate to the son of John McHale, the term "pop fine art" was first coined by his father in 1954 in conversation with Frank Cordell,^[12] although other sources credit its origin to British critic Lawrence Alloway.^{[xiii] [14]} (Both versions concord that the term was used in Independent Grouping discussions by mid-1955.)

"Popular 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 fine art" first appeared in published print in the article "But Today We Collect Ads" by IG members Alison and Peter Smithson in Ark magazine in 1956.^[fifteen] However, the term is often credited to British art critic/curator Lawrence Alloway for his 1958 essay titled The Arts and the Mass Media, fifty-fifty though the precise language he uses is "popular mass civilisation".^[16] "Furthermore, what I meant by it then is not what information technology means now. I used the term, and also 'Pop Culture' to refer to the products of the mass media, not to works of art that depict upon popular culture. In any case, sometime between the wintertime of 1954–55 and 1957 the phrase caused currency in conversation..."^[17] Still, 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-scale galleries to a major force in the artworld. But its success had not been in England. Practically simultaneously, and independently, New York City had become the hotbed for Pop Art.^[17]

In London, the annual Royal Gild of British Artists (RBA) exhibition of young talent in 1960 commencement showed American pop influences. In Jan 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 Young Contemporaries exhibitions.^[18] Hockney, Kitaj and Blake went on to win prizes at the John-Moores-Exhibition in Liverpool in the same twelvemonth. Apple and Hockney traveled together to New York during the Regal College'southward 1961 summer break, which is when Apple first fabricated contact with Andy Warhol – both later moved to the United states and Apple became involved with the New York pop art scene.^[18]

United States [edit]

Although pop fine 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 Pop Art" organized by the Museum of Modern Art.^[xix] By this time, American advertizing had adopted many elements of modern art and functioned at a very sophisticated level. Consequently, American artists had to search deeper for dramatic styles that would altitude art from the well-designed and clever commercial materials.^{[half dozen]} As the British viewed American popular culture imagery from a somewhat removed perspective, their views were oft instilled with romantic, sentimental and humorous overtones. By contrast, American artists, bombarded every day with the diversity of mass-produced imagery, produced work that was mostly more bold and aggressive.^[10]

Co-ordinate to historian, curator and critic Henry Geldzahler, "Ray Johnson's collages Elvis Presley No. 1 and James Dean stand as the Plymouth Stone of the Pop move."^[20] Author Lucy Lippard wrote that "The Elvis ... and Marilyn Monroe [collages] ... heralded Warholian Pop."^[21] Johnson worked every bit a graphic designer, met Andy Warhol past 1956 and both designed several book covers for New Directions and other publishers. Johnson began mailing out whimsical flyers advertizing his pattern services printed via offset lithography. He later became known as the begetter of mail art as the founder of his "New York Correspondence School," working small by stuffing clippings and drawings into envelopes rather than working larger similar his contemporaries.^[22] A note virtually the cover image in Jan 1958's Art News pointed out that "[Jasper] Johns' first one-man show ... places him with such better-known colleagues every bit Rauschenberg, Twombly, Kaprow and Ray Johnson".^[23]

Indeed, two other important artists in the establishment of America's pop art vocabulary were the painters Jasper Johns and Robert Rauschenberg.^[10] Rauschenberg, who like Ray Johnson attended Blackness Mountain College in North Carolina after World War Ii, was influenced by the earlier work of Kurt Schwitters and other Dada artists, and his belief that "painting relates to both fine art and life" challenged the ascendant modernist perspective of his time.^[24] His apply of discarded readymade objects (in his Combines) and pop culture imagery (in his silkscreen paintings) connected his works to topical events in everyday America.^{[10] [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. too three-dimensional depictions of ale cans drew attention to questions of representation in art.^[27] Johns' and Rauschenberg's work of the 1950s is frequently referred to as Neo-Dada, and is visually distinct from the prototypical American popular art which exploded in the early 1960s.^{[28] [29]}

Roy Lichtenstein is of equal importance to American pop art. His work, and its use of parody, probably defines the basic premise of popular art better than whatsoever other.^[10] Selecting the quondam-fashioned comic strip as subject affair, Lichtenstein produces a hard-edged, precise composition that documents while also parodying in a soft style. Lichtenstein used oil and Magna paint in his best known works, such as Drowning Girl (1963), which was appropriated from the atomic number 82 story in DC Comics' Secret Hearts #83. (Drowning Girl is part of the collection of the Museum of Modern Fine art.)^[30] His work features thick outlines, bold colors and Ben-Mean solar day dots to represent sure colors, as if created by photographic reproduction. Lichtenstein said, "[abstruse expressionists] put things down on the sheet and responded to what they had done, to the color positions and sizes. My fashion looks completely different, just the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock's or Kline'southward."^[31] Popular art merges pop and mass civilisation with fine art while injecting humour, 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 image of American popular civilization, but too treat the subject in an impersonal manner clearly illustrating the idealization of mass product.^[x]

Andy Warhol is probably the most famous effigy in popular art. In fact, art critic Arthur Danto once called Warhol "the nearest thing to a philosophical genius the history of art has produced".^[19] Warhol attempted to take pop beyond an artistic way to a life style, and his piece of work often displays a lack of human being affectation that dispenses with the irony and parody of many of his peers.^{[32] [33]}

Early U.Southward. exhibitions [edit]

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

Claes Oldenburg, Jim Dine and Tom Wesselmann had their get-go shows in the Judson Gallery in 1959 and 1960 and afterwards 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 jump prove, 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'due south soup cans, one for every flavor. Warhol sold the set of paintings to Blum for $i,000; in 1996, when the Museum of Modern Art acquired it, the set was valued at $15 million.^[nineteen]

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 magazine's last outcome, Nomad/New York. The essay was one of the first on what would go known as popular art, though Factor did not utilize 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 popular art movement, created many happenings, which were performance art-related productions of that time. The name 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; art critic Barbara Rose; and screenwriter Rudy Wurlitzer.^[37] His first wife, Patty Mucha, who sewed many of his early soft sculptures, was a abiding performer in his happenings. This brash, often humorous, approach to art was at slap-up odds with the prevailing sensibility that, by its nature, art dealt with "profound" expressions or ideas. In December 1961, he rented a shop on Manhattan'southward Lower East Side to business firm The Store, a month-long installation he had first presented at the Martha Jackson Gallery in New York, stocked with sculptures roughly in the form 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 l-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 show was seen by Europeans Martial Raysse, Niki de Saint Phalle and Jean Tinguely in New York, who were stunned by the size and expect of the American artwork. Also shown were Marisol, Mario Schifano, Enrico Baj and Öyvind Fahlström. Janis lost some of his abstract expressionist artists when Marking Rothko, Robert Motherwell, Adolph Gottlieb and Philip Guston quit the gallery, only gained Dine, Oldenburg, Segal and Wesselmann.^[38] At an opening-nighttime soiree thrown past collector Burton Tremaine, Willem de Kooning appeared and was turned away by Tremaine, who ironically owned a number of de Kooning'southward works. Rosenquist recalled: "at that moment I thought, something in the art world has definitely changed".^[19] Turning away a respected abstruse creative person proved that, as early as 1962, the pop art movement had begun to dominate fine art civilization in New York.

A bit earlier, on the West 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 Urban center; and Wayne Thiebaud from California were included in the New Painting of Common Objects show. This outset pop art museum exhibition in America was curated by Walter Hopps at the Pasadena Art Museum.^[39] Popular art was prepare to change the fine art world. New York followed Pasadena in 1963, when the Guggenheim Museum exhibited Vi Painters and the Object, curated by Lawrence Alloway. The artists were Jim Dine, Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, James Rosenquist, and Andy Warhol.^[forty] Another pivotal early exhibition was The American Supermarket organised past the Bianchini Gallery in 1964. The bear witness was presented as a typical small supermarket environs, except that everything in it—the produce, canned goods, meat, posters on the wall, etc.—was created past prominent pop artists of the time, including Apple, Warhol, Lichtenstein, Wesselmann, Oldenburg, and Johns. This projection was recreated in 2002 as part of the Tate Gallery'due south Shopping: A Century of Art and Consumer Culture.^[41]

By 1962, pop artists started exhibiting in commercial galleries in New York and Los Angeles; for some, it was their first commercial one-human being show. The Ferus Gallery presented Andy Warhol in Los Angeles (and Ed Ruscha in 1963). In New York, the Light-green Gallery showed Rosenquist, Segal, Oldenburg, and Wesselmann. The Stable Gallery showed R. Indiana and Warhol (in his kickoff New York prove). The Leo Castelli Gallery presented Rauschenberg, Johns, and Lichtenstein. Martha Jackson showed Jim Dine and Allen Rock showed Wayne Thiebaud. Past 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 Stone continued to represent Thiebaud, and Martha Jackson continued representing Robert Indiana.^[42]

In 1968, the São Paulo 9 Exhibition – Environment UsA.: 1957–1967 featured the "Who's Who" of pop fine art. Considered as a summation of the classical phase of the American pop fine art menstruum, 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]

French republic [edit]

Nouveau réalisme refers to an artistic motility founded in 1960 past 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 grouping, titled the "Constitutive Annunciation of New Realism," in April 1960, proclaiming, "Nouveau Réalisme—new means of perceiving the real."^[45] This joint declaration was signed on 27 October 1960, in Yves Klein's workshop, by 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, so Niki de Saint Phalle and Gérard Deschamps. The creative person Christo showed with the group. It was dissolved in 1970.^[45]

Gimmicky of American Pop Art—often conceived as its transposition in France—new realism was along with Fluxus and other groups 1 of the numerous tendencies of the avant-garde in the 1960s. The grouping initially chose Dainty, on the French Riviera, as its domicile base since Klein and Arman both originated in that location; new realism is thus ofttimes retrospectively considered by historians to exist an early representative of the École de Overnice [fr] movement.^[46] In spite of the diversity of their plastic language, they perceived a common footing for their work; this being 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 report of popular art is associated with the "new figurative", which arose from the roots of the crisis of informalism. Eduardo Approach could be said to fit within the pop art trend, on account of his interest in the environment, his critique of our media culture which incorporates icons of both mass media advice and the history of painting, and his scorn for nearly all established creative styles. However, the Spanish creative person who could be considered most authentically function of "pop" art is Alfredo Alcaín, because of the utilize he makes of popular images and empty spaces in his compositions.

Also in the category of Castilian popular art is the "Chronicle Team" (El Equipo Crónica), which existed in Valencia between 1964 and 1981, formed by the artists Manolo Valdés and Rafael Solbes. Their move tin can exist 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'south "La Movida" subculture of the 1970s making low budget super 8 pop art movies, and he was subsequently called the Andy Warhol of Espana by the media at the time. In the book Almodovar on Almodovar, he is quoted every bit saying that the 1950s film "Funny Face up" was a central inspiration for his work. One pop trademark in Almodovar'southward films is that he e'er produces a imitation commercial to be inserted into a scene.

New Zealand [edit]

In New Zealand, pop fine art has predominately flourished since the 1990s, and is often connected to Kiwiana. Kiwiana is a popular-centered, idealised representation of classically Kiwi icons, such equally meat pies, kiwifruit, tractors, jandals, 4 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 piece of work of foreign artists, giving their works a unique New Zealand view or influence. This is washed to bear witness New Zealand'southward historically subdued touch on on the world; naive fine art is connected to Aotearoan pop art this style.^[49]

This tin exist besides done in an annoying and deadpan way, every bit with Michel Tuffrey's famous work Pisupo Lua Afe (Corned Beefiness 2000). Of Samoan ancestry, Tuffery constructed the work, which represents a bull, out of processed food cans known as pisupo. Information technology is a unique work of western popular art because Tuffrey includes themes of neocolonialism and racism against non-western cultures (signified by the food cans the work is made of, which represent economical dependence brought on Samoans by the due west). The undeniable indigenous viewpoint makes it stand out confronting more common non-indigenous works of pop fine art.^{[fifty] [51]}

One of New Zealand's earliest and famous pop artists is Billy Apple tree, one of the few non-British members of the Royal Society of British Artists. Featured amongst the likes of David Hockney, American R.B. Kitaj and Peter Blake in the Jan 1961 RBA exhibition Young Contemporaries, Apple rapidly became an iconic international artist of the 1960s. This was before he conceived his moniker of 'Billy Apple", and his work was displayed under his nascence proper noun of Barrie Bates. He sought to distinguish himself by appearance as well as name, so bleached his hair and eyebrows with Lady Clairol Instant Creme Whip. Later, Apple tree was associated with the 1970s Conceptual Fine art movement. ^[52]

Japan [edit]

In Japan, popular art evolved from the nation's prominent avant-garde scene. The use of images of the modernistic world, 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's New York gallery that preceded by 2 years her famous New Forms New Media show that put Pop Fine art on the map.^[54] The work of Yayoi Kusama contributed to the development of pop fine 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 every bit commissions from The Beatles, Marilyn Monroe, and Elizabeth Taylor, amongst others.^[57] Some other leading popular creative person at that time was Keiichi Tanaami. Iconic characters from Japanese manga and anime have too become symbols for pop art, such as Speed Racer and Astro Boy. Japanese manga and anime besides influenced afterward popular artists such as Takashi Murakami and his superflat movement.

Italy [edit]

In Italia, by 1964, pop fine art was known and took dissimilar 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 by Piero Manzoni, Lucio Del Pezzo, Mimmo Rotella and Valerio Adami.

Italian pop fine art originated in 1950s civilization – the works of the artists Enrico Baj and Mimmo Rotella to exist 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 be generically defined as belonging to a non-representational genre, despite beingness thoroughly mail service-Dadaist), to catapult themselves into a new world of images, and the reflections on them, which was springing up all around them. Rotella's torn posters showed an ever more figurative taste, often explicitly and deliberately referring to the great icons of the times. Baj's compositions were steeped in contemporary kitsch, which turned out to be a "gilt mine" of images and the stimulus for an unabridged 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 art takes the same ideological path as that of the international scene. The only thing that changes is the iconography and, in some cases, the presence of a more critical attitude toward information technology. Even in this case, the prototypes can be traced back to the works of Rotella and Baj, both far from neutral in their relationship with gild. However this is not an exclusive element; there is a long line of artists, including Gianni Ruffi, Roberto Barni, Silvio Pasotti, Umberto Bignardi, and Claudio Cintoli, who take on reality as a toy, every bit a great pool of imagery from which to draw material with disenchantment and frivolity, questioning the traditional linguistic role models with a renewed spirit of "let me have fun" à la Aldo Palazzeschi.^[58]

Belgium [edit]

In Belgium, popular art was represented to some extent past Paul Van Hoeydonck, whose sculpture Fallen Astronaut was left on the Moon during one of the Apollo missions, besides 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 movement; Broodthaers'south not bad influence was George Segal. Another well-known creative person, Roger Raveel, mounted a birdcage with a real live dove in one of his paintings. By the end of the 1960s and early 1970s, pop art references disappeared from the work of some of these artists when they started to adopt a more critical mental attitude towards America because of the Vietnam War'southward increasingly gruesome character. Panamarenko, yet, has retained the irony inherent in the pop fine art movement upwards to the present day. Evelyne Axell from Namur was a prolific popular-artist in the 1964–1972 menstruation. Axell was one of the first female popular artists, had been mentored past Magritte and her all-time-known painting is Ice Cream.^[59]

Netherlands [edit]

While there was no formal pop art movement in the Netherlands, in that location were a group of artists that spent fourth dimension in New York during the early years of pop fine art, and drew inspiration from the international pop art motility. Representatives of Dutch popular 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 past creating humorous works with a serious undertone. Examples of this nature include Sex O'Clock, by Woody van Amen, and Crucifix / Target, by Jacques Frenken.^[60]

Russian federation [edit]

Russia was a little late to get office of the pop fine art movement, and some of the artwork that resembles popular art only surfaced around the early 1970s, when Russian federation was a communist land and bold artistic statements were closely monitored. Russia's own version of popular art was Soviet-themed and was referred to every bit Sots Art. Later on 1991, the Communist Party lost its power, and with it came a freedom to express. Pop art in Russia took on another form, epitomised by Dmitri Vrubel with his painting titled My God, Help Me to Survive This Deadly Love in 1990. Information technology might be argued that the Soviet posters made in the 1950s to promote the wealth of the nation were in itself a form of popular art.^[61]

Notable artists [edit]

• Billy Apple tree (1935-2021)
• Evelyne Axell (1935–1972)
• Sir Peter Blake (born 1932)
• Derek Boshier (born 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 (born 1944)
• Erró (born 1932)
• Marisol Escobar (1930–2016)
• James Gill (born 1934)
• Dorothy Grebenak (1913-1990)
• Ruddy Grooms (born 1937)
• Richard Hamilton (1922–2011)
• Keith Haring (1958–1990)
• Jann Haworth (born 1942)
• David Hockney (born 1937)
• Dorothy Iannone (born 1933)
• Robert Indiana (1928–2018)
• Jasper Johns (born 1930)
• Ray Johnson (1927-1995)
• Allen Jones (born 1937)
• Alex Katz (built-in 1927)
• Corita Kent (1918–1986)
• Konrad Klapheck (built-in 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 (built-in 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)

Run across also [edit]

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

References [edit]

1. ^ Pop Art: A Brief History, MoMA Learning
2. ^ ^{a b c d east} Livingstone, M., Pop Art: A Continuing History, New York: Harry N. 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 e f} Piper, David. The Illustrated History of Art, ISBN 0-7537-0179-0, p486-487.
5. ^ Harrison, Sylvia (2001-08-27). Pop Art and the Origins of Post-Modernism. Cambridge University Press.
6. ^ ^{a b c d} Gopnik, A.; Varnedoe, G., Loftier & Low: Mod Art & Pop Culture, New York: The Museum of Modern Art, 1990
7. ^ "History, Travel, Arts, Scientific discipline, People, Places | Smithsonian". Smithsonianmag.com . Retrieved 2015-12-30 .
8. ^ "Mod Love". The New Yorker. 2007-08-06. Retrieved 2015-12-xxx .
9. ^ Wayne Chicken, American Art: History and . p.464.
10. ^ ^{a b c d e f g} Arnason, H., History of Modern Art: Painting, Sculpture, Architecture, New York: Harry N. Abrams, Inc. 1968.
11. ^ "'I was a Rich Man'due south Plaything', Sir Eduardo Paolozzi". Tate. 2015-12-ten. Retrieved 2015-12-30 .
12. ^ "John McHale". Warholstars.org . Retrieved 2015-12-30 .
13. ^ "Pop art", A Lexicon of Twentieth-Century Art, Ian Chilvers. Oxford University Press, 1998.
14. ^ "Pop fine art", The Concise Oxford Dictionary of Fine art Terms, Michael Clarke, Oxford Academy Press, 2001.
15. ^ Alison and Peter Smithson, "But Today We Collect Ads", reprinted on page 54 in Modern Dreams The Rise and Fall of Pop, published past ICA and MIT, ISBN 0-262-73081-2
16. ^ Lawrence Alloway, "The Arts and the Mass Media," Architectural Design & Construction, Feb 1958.
17. ^ ^{a b} Klaus Honnef, Popular Fine art, Taschen, 2004, p. 6, ISBN 3822822183
18. ^ ^{a b} Barton, Christina (2010). Baton 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 Art World Upside Downward." American Heritage 52.ane (February 2001), 68.
20. ^ Geldzahler, Henry in Pop Fine art: 1955–1970 catalogue, Art Gallery of New South Wales, Sydney, 1985
21. ^ Lippard, Lucy in Ray Johnson: Correspondences catalogue, Wexner Heart/Whitney Museum, 2000
22. ^ Bloch, Mark. "An Illustrated Introduction to Ray Johnson 1927-1995", 1995
23. ^ Author unknown. "(Table of contents, Untitled note about cover.)", Art News, vol. 56, no. 9, January 1958
24. ^ Rauschenberg, Robert; Miller, Dorothy C. (1959). 16 Americans [exhibition]. New York: Museum of Modern Art. p. 58. ISBN 978-0029156704. OCLC 748990996. "Painting relates to both art and life. Neither can be fabricated. (I try to act in that gap between the two.)"
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 art teacher who 'taught me to call back, "Why non?"' Since Rauschenberg is considered to exist a pioneer in popular fine art, this is probably where the movement went off on its detail tangent. Why not brand art out of quondam newspapers, $.25 of clothing, 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 (Oct 2004). "Jasper Johns (born 1930) In Heilbrunn Timeline of Art History". The Metropolitan Museum of Fine art . Retrieved May ii, 2021.
28. ^ Robert Rosenblum, "Jasper Johns" Art International (September 1960): 75.
29. ^ Hapgood, Susan, Neo-Dada: Redefining Fine art, 1958–62. New York: Universe Books, 1994.
30. ^ Hendrickson, Janis (1988). Roy Lichtenstein. Cologne, Federal republic of germany: Benedikt Taschen. p. 31. ISBN3-8228-0281-6.
31. ^ Kimmelman, Michael (September 30, 1997). "Roy Lichtenstein, Pop Main, Dies at 73". New York Times . Retrieved November 12, 2007.
32. ^ Michelson, Annette, Buchloh, B. H. D. (eds) Andy Warhol (Oct Files), MIT Press, 2001.
33. ^ Warhol, Andy. The Philosophy of Andy Warhol, from A to B and dorsum again. Harcourt Brace Jovanovich, 1975
34. ^ "The Collection". MoMA.org . Retrieved 2015-12-30 .
35. ^ "The Swell American Pop Fine art Store: Multiples of the Sixties". Tfaoi.com . Retrieved 2015-12-30 .
36. ^ Diggory (2013).
37. ^ ^{a b} Kristine McKenna (July 2, 1995), When Bigger Is Improve: Claes Oldenburg has spent the past 35 years blowing upwards and redefining everyday objects, all in the proper noun of getting art off its pedestal Los Angeles Times.
38. ^ Reva Wolf (1997-11-24). Andy Warhol, Poetry, and Gossip in the 1960s. p. 83. ISBN9780226904931 . Retrieved 2015-12-30 .
39. ^ "Museum History » Norton Simon Museum". Nortonsimon.org . Retrieved 2015-12-30 .
40. ^ Half dozen painters and the object. Lawrence Alloway [curator, conceived and prepared this exhibition and the catalogue] (Computer file). 2009-07-24. OCLC 360205683.
41. ^ Gayford, Martin (2002-12-19). "Still life at the check-out". The Telegraph. Telegraph Media Grouping Ltd. Archived from the original on 2022-01-11. Retrieved 28 Nov 2012.
42. ^ Popular Artists: Andy Warhol, Popular Art, Roy Lichtenstein, Jasper Johns, Peter Max, Erró, David Hockney, Wally Hedrick, Michael Leavitt (May 20, 2010) Reprinted: 2010, Full general Books, Memphis, Tennessee, United states, ISBN 978-ane-155-48349-8, ISBN 1-155-48349-9.
43. ^ Jim Edwards, William Emboden, David McCarthy: Uncommonplaces: The Art of James Francis Gill, 2005, p.54
44. ^ Karl Ruhrberg, Ingo F. Walther, Fine art of the 20th Century, Taschen, 2000, p. 518. ISBN 3-8228-5907-9
45. ^ ^{a b} Kerstin Stremmel, Realism, Taschen, 2004, p. 13. ISBN three-8228-2942-0
46. ^ Rosemary Thousand. O'Neill, Art and Visual Culture on the French Riviera, 1956–1971: The Ecole de Overnice, Ashgate, 2012, p. 93.
47. ^ lx/90. Trente ans de Nouveau Réalisme, La Différence, 1990, p. 76
48. ^ "Op + Popular". christchurchartgallery.org.nz . Retrieved 2021-07-22 .
49. ^ "Dick Frizzell - Overview". The Central . Retrieved 2021-07-22 .
50. ^ "Loading... | Collections Online - Museum of New Zealand Te Papa Tongarewa". collections.tepapa.govt.nz . Retrieved 2021-07-22 .
51. ^ "Loading... | Collections Online - Museum of New Zealand Te Papa Tongarewa". collections.tepapa.govt.nz . Retrieved 2021-07-22 .
52. ^ "ARTSPACE - Baton Apple". 2013-02-09. Archived from the original on 2013-02-09. Retrieved 2021-07-29 .
53. ^ Eskola, Jack (2015). Harue Koga: David Bowie of the Early 20th Century Japanese Fine art Advanced. Kindle, e-volume.
54. ^ Bloch, Mark. The Brooklyn Rail. "Gutai: 1953 –1959", June 2018.
55. ^ "Yayoi Kusama interview – Yayoi Kusama exhibition". Timeout.com. 2013-01-30. Retrieved 2015-12-thirty .
56. ^ [one] Archived November 1, 2012, at the Wayback Automobile
57. ^ "Tadanori Yokoo : ADC • Global Awards & Order". Adcglobal.org. 1936-06-27. Retrieved 2015-12-xxx .
58. ^ "Pop Art Italia 1958–1968 — Galleria Civica". Comune.modena.it . Retrieved 2015-12-30 .
59. ^ "Philadelphia Museum of Art Wins Fight with Facebook over Racy Pop Art Painting". artnet.com. 11 February 2016. Retrieved 2020-01-17 .
60. ^ "Dutch Pop Fine art & The Sixties – Weg met de vertrutting!". 8weekly.nl. 28 July 2005. Retrieved 2015-12-30 .
61. ^ [two] Archived June 7, 2013, at the Wayback Machine

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 978-1-4381-4066-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: Westward.W. Norton & Company, Inc. in association with the Whitney Museum of American Art.
• Lifshitz, Mikhail, The Crunch of Ugliness: From Cubism to Pop-Art. Translated and with an Introduction by David Riff. Leiden: BRILL, 2018 (originally published in Russian by Iskusstvo, 1968).
• Lippard, Lucy R. (1966) Pop Art, with contributions past 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 (April 1963) "A symposium on Pop Art" Arts Magazine, pp. 36–45. Transcript of symposium held at the Museum of Modern Art on December 13, 1962.

External links [edit]

Wikimedia Commons has media related to Pop art.

Wikiquote has quotations related to: Popular fine art

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

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

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