Pop Art Was Influenced by Its Preceding Artistic Movemen

Art movement

Pop fine art is an art move that emerged in the U.k. and the Us during the mid- to belatedly-1950s.^{[1] [2]} The movement presented a challenge to traditions of fine fine art by including imagery from popular and mass culture, such every bit advert, comic books and mundane mass-produced objects. Ane of its aims is to use images of pop (equally opposed to elitist) culture in art, emphasizing the banal or kitschy elements of whatsoever culture, almost ofttimes through the use of irony.^[3] Information technology is also associated with the artists' use of mechanical means of reproduction or rendering techniques. In pop art, material is sometimes visually removed from its known context, isolated, or combined with unrelated material.^{[two] [3]}

Amidst the early artists that shaped the popular art move were Eduardo Paolozzi and Richard Hamilton in United kingdom, and Larry Rivers, Ray Johnson. Robert Rauschenberg and Jasper Johns amongst others in the U.s.a.. Pop art is widely interpreted every bit a reaction to the then-dominant ideas of abstruse expressionism, too as an expansion of those ideas.^[4] Due to its utilization of establish objects and images, information technology is similar to Dada. Pop art and minimalism are considered to be art movements that precede postmodern art, or are some of the primeval examples of postmodern art themselves.^[5]

Popular art often takes imagery that is currently in utilise in advertising. Product labeling and logos figure prominently in the imagery chosen by pop artists, seen in the labels of Campbell'due south Soup Cans, by Andy Warhol. Fifty-fifty the labeling on the outside of a shipping box containing nutrient items for retail has been used every bit discipline affair in pop art, every bit demonstrated past Warhol'south Campbell's Tomato Juice Box, 1964 (pictured).

Origins [edit]

The origins of pop fine art in Due north America developed differently from U.k..^[3] In the United States, pop fine art was a response by artists; it marked a return to hard-edged composition and representational 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.S., some artwork by Larry Rivers, Alex Katz and Homo Ray anticipated pop art.^[7]

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

Proto-pop [edit]

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

United Kingdom: the Independent Grouping [edit]

The Independent Grouping (IG), founded in London in 1952, is regarded as the forerunner to the pop art movement.^{[ii] [ten]} They were a gathering of young painters, sculptors, architects, writers and critics who were challenging prevailing modernist approaches to culture as well equally traditional views of fine fine art. Their group discussions centered on popular culture implications from elements such as mass ad, movies, product design, comic strips, scientific discipline fiction and technology. At the first Independent Group coming together in 1952, co-founding 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] [10]} This cloth of "found objects" such as advertising, comic volume characters, magazine covers and various mass-produced graphics mostly represented American popular culture. 1 of the collages in that presentation was Paolozzi's I was a Rich Man'due south Plaything (1947), which includes the first use of the give-and-take "pop", appearing in a cloud of smoke emerging from a revolver.^{[ii] [11]} Following Paolozzi's seminal presentation in 1952, the IG focused primarily on the imagery of American popular culture, particularly mass advert.^[6]

According to the son of John McHale, the term "pop 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.^{[13] [fourteen]} (Both versions concur that the term was used in Independent Grouping discussions past mid-1955.)

"Pop fine art" equally 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" past IG members Alison and Peter Smithson in Ark magazine in 1956.^[xv] Withal, the term is oftentimes 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 "popular mass civilization".^[16] "Furthermore, what I meant by it then is not what it means now. I used the term, and as well 'Pop Culture' to refer to the products of the mass media, not to works of art that draw upon popular culture. In any case, sometime between the wintertime of 1954–55 and 1957 the phrase acquired 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 art schools and minor 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 Pop Art.^[17]

In London, the annual Purple Society of British Artists (RBA) exhibition of young talent in 1960 kickoff showed American pop influences. In Jan 1961, the about famous RBA-Young Contemporaries of all put David Hockney, the American R B Kitaj, New Zealander Billy Apple tree, 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 Higher's 1961 summer break, which is when Apple starting time made contact with Andy Warhol – both later on moved to the Usa and Apple became involved with the New York pop art scene.^[eighteen]

United States [edit]

Although pop fine art began in the early 1950s, in America information technology was given its greatest impetus during the 1960s. The term "pop fine art" was officially introduced in December 1962; the occasion was a "Symposium on Popular Fine art" organized by the Museum of Modern Fine art.^[nineteen] Past this time, American advertising had adopted many elements of mod fine art and functioned at a very sophisticated level. Consequently, American artists had to search deeper for dramatic styles that would distance art from the well-designed and clever commercial materials.^[6] Every bit the British viewed American popular culture imagery from a somewhat removed perspective, their views were often instilled with romantic, sentimental and humorous overtones. Past dissimilarity, American artists, bombarded every day with the diversity of mass-produced imagery, produced piece of work that was by and large more bold and aggressive.^[ten]

According to historian, curator and critic Henry Geldzahler, "Ray Johnson's collages Elvis Presley No. one and James Dean stand as the Plymouth Rock of the Pop movement."^[twenty] Author Lucy Lippard wrote that "The Elvis ... and Marilyn Monroe [collages] ... heralded Warholian Pop."^[21] Johnson worked as 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 advertising his design services printed via starting time lithography. He subsequently became known as the father of post art as the founder of his "New York Correspondence Schoolhouse," working small by stuffing clippings and drawings into envelopes rather than working larger like his contemporaries.^[22] A note near the cover image in January 1958'south Art News pointed out that "[Jasper] Johns' first one-man testify ... places him with such better-known colleagues as Rauschenberg, Twombly, Kaprow and Ray Johnson".^[23]

Indeed, two other of import artists in the institution of America's pop art vocabulary were the painters Jasper Johns and Robert Rauschenberg.^[10] Rauschenberg, who similar Ray Johnson attended Black Mount College in Northward Carolina after World War Two, was influenced by the earlier work of Kurt Schwitters and other Dada artists, and his belief that "painting relates to both art and life" challenged the dominant modernist perspective of his time.^[24] His use of discarded readymade objects (in his Combines) and pop culture imagery (in his silkscreen paintings) continued his works to topical events in everyday America.^{[10] [25] [26]} The silkscreen paintings of 1962–64 combined expressive brushwork with silkscreened mag clippings from Life, Newsweek, and National Geographic. Johns' paintings of flags, targets, numbers, and maps of the U.S. every bit well three-dimensional depictions of ale cans drew attention to questions of representation in art.^[27] Johns' and Rauschenberg's piece of work of the 1950s is frequently referred to as 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 work, and its use of parody, probably defines the basic premise of pop art better than whatever other.^[10] Selecting the old-fashioned comic strip as subject matter, Lichtenstein produces a hard-edged, precise composition that documents while also parodying in a soft manner. Lichtenstein used oil and Magna pigment in his best known works, such every bit Drowning Girl (1963), which was appropriated from the lead story in DC Comics' Hush-hush Hearts #83. (Drowning Girl is function of the collection of the Museum of Mod Art.)^[thirty] His work features thick outlines, bold colors and Ben-Day dots to stand for certain colors, as if created by photographic reproduction. Lichtenstein said, "[abstruse expressionists] put things downwards on the canvas and responded to what they had done, to the color positions and sizes. My style looks completely different, just the nature of putting down lines pretty much is the same; mine simply don't come out looking calligraphic, like Pollock's or Kline'due south."^[31] Popular fine art merges popular 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 civilisation, but also care for the subject in an impersonal way clearly illustrating the idealization of mass production.^[10]

Andy Warhol is probably the virtually famous figure in pop art. In fact, fine art critic Arthur Danto once chosen Warhol "the nearest thing to a philosophical genius the history of art has produced".^[19] Warhol attempted to accept pop beyond an artistic manner to a life mode, and his piece of work often displays a lack of human arrayal that dispenses with the irony and parody of many of his peers.^{[32] [33]}

Early on U.S. exhibitions [edit]

The Cheddar Cheese canvas from Andy Warhol's Campbell'due south Soup Cans, 1962.

Claes Oldenburg, Jim Dine and Tom Wesselmann had their first 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 testify, Environments, Situations, Spaces.^{[34] [35]} Andy Warhol held his first solo exhibition in Los Angeles in July 1962 at Irving Blum'southward Ferus Gallery, where he showed 32 paintings of Campell's soup cans, i for every season. Warhol sold the gear up of paintings to Blum for $1,000; in 1996, when the Museum of Modern Fine art acquired information technology, the set up was valued at $15 million.^[xix]

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's concluding outcome, Nomad/New York. The essay was one of the outset on what would go known as pop 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 art move, created many happenings, which were operation art-related productions of that time. The name he gave to his own productions was "Ray Gun Theater". The bandage 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 first wife, Patty Mucha, who sewed many of his early soft sculptures, was a constant performer in his happenings. This brash, often humorous, arroyo to art was at not bad 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's Lower E Side to house 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 appurtenances.^[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 Dearest 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 look of the American artwork. As well shown were Marisol, Mario Schifano, Enrico Baj and Öyvind Fahlström. Janis lost some of his abstruse 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 owned a number of de Kooning'southward works. Rosenquist recalled: "at that moment I thought, something in the art globe has definitely changed".^[19] Turning abroad a respected abstract artist proved that, as early on as 1962, the pop art motion had begun to dominate fine art culture in New York.

A bit earlier, on the West Coast, Roy Lichtenstein, Jim Dine and Andy Warhol from New York City; 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 start pop fine art museum exhibition in America was curated by Walter Hopps at the Pasadena Art Museum.^[39] Popular art was fix to alter the art world. New York followed Pasadena in 1963, when the Guggenheim Museum exhibited Six Painters and the Object, curated by Lawrence Alloway. The artists were Jim Dine, Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, James Rosenquist, and Andy Warhol.^[xl] Another pivotal early on exhibition was The American Supermarket organised past the Bianchini Gallery in 1964. The show was presented as a typical pocket-sized supermarket surround, except that everything in it—the produce, canned goods, meat, posters on the wall, etc.—was created by prominent pop artists of the fourth dimension, including Apple, Warhol, Lichtenstein, Wesselmann, Oldenburg, and Johns. This projection was recreated in 2002 as part of the Tate Gallery's 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-man evidence. The Ferus Gallery presented Andy Warhol in Los Angeles (and Ed Ruscha in 1963). In New York, the Dark-green Gallery showed Rosenquist, Segal, Oldenburg, and Wesselmann. The Stable Gallery showed R. Indiana and Warhol (in his showtime 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, afterward the Greenish Gallery and the Ferus Gallery closed, 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 connected to represent Thiebaud, and Martha Jackson connected representing Robert Indiana.^[42]

In 1968, the São Paulo nine Exhibition – Environment UsA.: 1957–1967 featured the "Who's Who" of pop art. Considered as a summation of the classical stage of the American pop 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 motion founded in 1960 by the art critic Pierre Restany^[44] and the artist Yves Klein during the kickoff collective exposition in the Apollinaire gallery in Milan. Pierre Restany wrote the original manifesto for the group, titled the "Constitutive Declaration of New Realism," in Apr 1960, proclaiming, "Nouveau Réalisme—new ways 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 artist Christo showed with the group. It was dissolved in 1970.^[45]

Contemporary of American Pop Fine art—oftentimes conceived every bit its transposition in France—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 Overnice, on the French Riviera, every bit its dwelling house base since Klein and Arman both originated there; new realism is thus oftentimes retrospectively considered by historians to be an early representative of the École de Nice [fr] move.^[46] In spite of the variety 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 past Restany; to a "poetic recycling of urban, industrial and advertising reality".^[47]

Espana [edit]

In Spain, the report of pop fine art is associated with the "new figurative", which arose from the roots of the crisis of informalism. Eduardo Arroyo could exist 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 scorn for about all established artistic styles. All the same, the Castilian artist who could be considered well-nigh authentically part of "popular" art is Alfredo Alcaín, because of the utilize he makes of popular images and empty spaces in his compositions.

Also in the category of Spanish popular fine art is the "Chronicle Squad" (El Equipo Crónica), which existed in Valencia between 1964 and 1981, formed by the artists Manolo Valdés and Rafael Solbes. Their motility can be characterized as "pop" because of its utilise 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 depression budget super 8 pop fine art movies, and he was subsequently called the Andy Warhol of Spain by the media at the time. In the book Almodovar on Almodovar, he is quoted every bit saying that the 1950s film "Funny Face" was a central inspiration for his work. One popular trademark in Almodovar's films is that he always produces a false commercial to be inserted into a scene.

New Zealand [edit]

In New Zealand, pop art has predominately flourished since the 1990s, and is oftentimes connected 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 messages.^[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 done to testify New Zealand's historically subdued impact on the world; naive art is continued to Aotearoan pop art this style.^[49]

This can be also done in an annoying and deadpan way, equally with Michel Tuffrey's famous piece of work Pisupo Lua Afe (Corned Beef 2000). Of Samoan beginnings, Tuffery constructed the piece of work, which represents a bull, out of processed food cans known every bit pisupo. It is a unique work of western pop art because Tuffrey includes themes of neocolonialism and racism against not-western cultures (signified by the food cans the work is made of, which stand for economic dependence brought on Samoans by the west). The undeniable indigenous viewpoint makes information technology stand out confronting more mutual non-indigenous works of popular fine art.^{[l] [51]}

One of New Zealand's earliest and famous pop artists is Baton Apple, one of the few non-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 Young Contemporaries, Apple apace became an iconic international artist of the 1960s. This was before he conceived his moniker of 'Baton Apple", and his work was displayed under his birth proper noun of Barrie Bates. He sought to distinguish himself by appearance as well as name, then bleached his pilus and eyebrows with Lady Clairol Instant Creme Whip. Later, Apple was associated with the 1970s Conceptual Art movement. ^[52]

Japan [edit]

In Japan, popular art evolved from the nation's prominent advanced scene. The use of images of the modernistic earth, copied from magazines in the photomontage-style 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'southward New York gallery that preceded by two 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 popular art and influenced many other artists, including Andy Warhol.^{[55] [56]} In the mid-1960s, graphic designer Tadanori Yokoo became 1 of the most successful pop artists and an international symbol for Japanese popular art. He is well known for his advertisements and creating artwork for pop culture icons such as commissions from The Beatles, Marilyn Monroe, and Elizabeth Taylor, amidst others.^[57] Another leading pop artist at that time was Keiichi Tanaami. Iconic characters from Japanese manga and anime accept also become symbols for pop art, such as Speed Racer and Astro Boy. Japanese manga and anime also influenced later pop artists such as Takashi Murakami and his superflat move.

Italia [edit]

In Italy, by 1964, pop fine art was known and took different forms, such as the "Scuola di Piazza del Popolo" in Rome, with pop artists such as 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 civilisation – 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 be generically defined as belonging to a not-representational genre, despite existence 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'south torn posters showed an ever more figurative taste, frequently 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 "gold mine" of images and the stimulus for an entire generation of artists.

The novelty came from the new visual panorama, both within "domestic walls" and out-of-doors. Cars, road signs, television, all the "new world", everything can belong to the globe 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 than disquisitional attitude toward information technology. Fifty-fifty in this case, the prototypes can be traced dorsum to the works of Rotella and Baj, both far from neutral in their human relationship with order. Still this is not an sectional 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 smashing puddle of imagery from which to describe material with disenchantment and frivolity, questioning the traditional linguistic role models with a renewed spirit of "let me take fun" à la Aldo Palazzeschi.^[58]

Belgium [edit]

In Belgium, pop art was represented to some extent by Paul Van Hoeydonck, whose sculpture Fallen Astronaut was left on the Moon during ane of the Apollo missions, every bit well as by other notable pop artists. Internationally recognized artists such equally Marcel Broodthaers ( 'vous êtes doll? "), Evelyne Axell and Panamarenko are indebted to the popular art motility; Broodthaers'south great influence was George Segal. Another well-known creative person, Roger Raveel, mounted a birdcage with a real alive pigeon in i of his paintings. Past the end of the 1960s and early 1970s, popular fine art references disappeared from the piece of work of some of these artists when they started to adopt a more than critical attitude towards America considering of the Vietnam War'due south increasingly gruesome character. Panamarenko, however, has retained the irony inherent in the pop art motility upward to the nowadays day. Evelyne Axell from Namur was a prolific pop-artist in the 1964–1972 menstruum. Axell was one of the start female pop artists, had been mentored past Magritte and her all-time-known painting is Ice Cream.^[59]

Netherlands [edit]

While at that place was no formal pop art movement in the Netherlands, there were a grouping of artists that spent time in New York during the early on years of pop art, and drew inspiration from the international popular art movement. Representatives of Dutch popular art include Daan van Golden, Gustave Asselbergs, Jacques Frenken, January 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 Sex O'Clock, past Woody van Amen, and Crucifix / Target, by Jacques Frenken.^[lx]

Russia [edit]

Russia was a little late to get part of the pop art motility, and some of the artwork that resembles pop art only surfaced effectually the early 1970s, when Russia was a communist state and bold artistic statements were closely monitored. Russia'due south 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 liberty to express. Pop art in Russian federation took on another course, epitomised by Dmitri Vrubel with his painting titled My God, Help Me to Survive This Mortiferous Love in 1990. It might exist 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 (built-in 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)
• Red Grooms (born 1937)
• Richard Hamilton (1922–2011)
• Keith Haring (1958–1990)
• Jann Haworth (built-in 1942)
• David Hockney (born 1937)
• Dorothy Iannone (born 1933)
• Robert Indiana (1928–2018)
• Jasper Johns (built-in 1930)
• Ray Johnson (1927-1995)
• Allen Jones (born 1937)
• Alex Katz (born 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 (born 1929)
• Julian Opie (built-in 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 (built-in 1934)
• George Segal (1924–2000)
• Colin Self (born 1941)
• Marjorie Strider (1931–2014)
• Elaine Sturtevant (1924-2014)
• Wayne Thiebaud (born 1920)
• Joe Tilson (built-in 1928)
• Andy Warhol (1928–1987)
• Idelle Weber (1932–2020)
• John Wesley (born 1928)
• Tom Wesselmann (1931–2004)

See as well [edit]

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

References [edit]

1. ^ Pop Art: A Brief History, MoMA Learning
2. ^ ^{a b c d e} Livingstone, 1000., 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 Caryatid 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, K., High & Low: Modern Art & Popular 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. ^ "Modern Honey". The New Yorker. 2007-08-06. Retrieved 2015-12-xxx .
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15. ^ Alison and Peter Smithson, "Merely Today We Collect Ads", reprinted on page 54 in Modern Dreams The Ascension and Fall of Pop, published by ICA and MIT, ISBN 0-262-73081-2
16. ^ Lawrence Alloway, "The Arts and the Mass Media," Architectural Design & Construction, February 1958.
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-two.
19. ^ ^{a b c d} Scherman, Tony. "When Pop Turned the Art World Upside Downward." American Heritage 52.ane (Feb 2001), 68.
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25. ^ "Art: Pop Art – Cult of the Commonplace". Time. 1963-05-03. ISSN 0040-781X. Retrieved 2020-07-07 . Robert Rauschenberg, 37, remembers an art teacher who 'taught me to think, "Why not?"' Since Rauschenberg is considered to be a pioneer in pop art, this is probably where the motility went off on its particular tangent. Why not make fine art out of old newspapers, bits of article 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-one pp. 174–195, Rauschenberg and Johns; pp. 103–111, Rivers and the gestural realists.
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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-ane-4381-4066-7
• 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.Due west. Norton & Company, Inc. in association with the Whitney Museum of American Fine art.
• Lifshitz, Mikhail, The Crunch 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 Fine 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 Mod Fine art on December 13, 1962.

External links [edit]

Wikimedia Commons has media related to Pop art.

Wikiquote has quotations related to: Popular art

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

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

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