Image to Put Title on Pop Art to Put Title on

Art movement

Pop art is an art movement that emerged in the United Kingdom and the United States during the mid- to late-1950s.^{[1] [2]} The movement presented a challenge to traditions of fine art by including imagery from pop and mass culture, such every bit advertising, comic books and mundane mass-produced objects. 1 of its aims is to use images of popular (equally opposed to elitist) civilisation in art, emphasizing the banal or kitschy elements of any culture, most frequently through the utilise 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.^{[2] [3]}

Amid the early artists that shaped the pop art motion were Eduardo Paolozzi and Richard Hamilton in United kingdom of great britain and northern ireland, and Larry Rivers, Ray Johnson. Robert Rauschenberg and Jasper Johns amongst others in the United states. Pop fine art is widely interpreted as a reaction to the then-dominant ideas of abstract expressionism, as well equally an expansion of those ideas.^[four] Due to its utilization of plant objects and images, it is like to Dada. Pop art and minimalism are considered to exist art movements that precede postmodern art, or are some of the primeval examples of postmodern fine art themselves.^[5]

Pop fine art oftentimes takes imagery that is currently in apply in advertisement. Product labeling and logos effigy prominently in the imagery chosen by popular artists, seen in the labels of Campbell's Soup Cans, past Andy Warhol. Even the labeling on the outside of a shipping box containing food items for retail has been used as subject field matter in pop art, as demonstrated past Warhol'due south Campbell's Tomato Juice Box, 1964 (pictured).

Origins [edit]

The origins of popular art in N America developed differently from Neat U.k..^[3] In the United States, pop art was a response by artists; it marked a return to hard-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.^{[iv] [half-dozen]} In the U.S., some artwork by Larry Rivers, Alex Katz and Man Ray predictable pop art.^[seven]

By contrast, the origins of pop art in post-War Britain, while employing irony and parody, were more 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 club.^[six] Early on pop art in Uk was a matter of ideas fueled by American popular culture when viewed from afar.^[4] Similarly, pop 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 move with a detached affirmation of the artifacts of mass culture.^[4] Amid those artists in Europe seen as producing work leading upward to pop 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 Man Ray predate the movement; in addition there were some earlier American proto-pop origins which utilized "every bit establish" cultural objects.^[4] During the 1920s, American artists Patrick Henry Bruce, Gerald Murphy, Charles Demuth and Stuart Davis created paintings that independent pop culture imagery (mundane objects culled from American commercial products and advertising blueprint), nigh "prefiguring" the pop fine art motion.^{[eight] [ix]}

United kingdom: the Independent Group [edit]

The Independent Group (IG), founded in London in 1952, is regarded as the precursor to the pop fine art movement.^{[2] [ten]} They were a gathering of immature painters, sculptors, architects, writers and critics who were challenging prevailing modernist approaches to culture as well as traditional views of art. Their group discussions centered on popular culture implications from elements such as mass advertizing, movies, product design, comic strips, science fiction and applied science. At the first Independent Group meeting 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 between 1947 and 1949.^{[2] [10]} This material of "plant 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'southward I was a Rich Man's Plaything (1947), which includes the first use of the give-and-take "popular", appearing in a deject of smoke emerging from a revolver.^{[2] [11]} Following Paolozzi's seminal presentation in 1952, the IG focused primarily on the imagery of American pop culture, particularly mass advertising.^[6]

Co-ordinate to the son of John McHale, the term "popular art" was first coined past his father in 1954 in conversation with Frank Cordell,^[12] although other sources credit its origin to British critic Lawrence Alloway.^{[13] [14]} (Both versions agree that the term was used in Independent Grouping discussions by mid-1955.)

"Pop art" as a moniker was and so used in discussions by IG members in the Second Session of the IG in 1955, and the specific term "pop art" outset appeared in published print in the article "Simply Today We Collect Ads" by IG members Alison and Peter Smithson in Ark magazine in 1956.^[15] Even so, the term is oft 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 culture".^[sixteen] "Furthermore, what I meant by it and so is not what it means at present. I used the term, and also 'Popular Culture' to refer to the products of the mass media, not to works of art that draw upon pop culture. In whatsoever case, sometime between the wintertime of 1954–55 and 1957 the phrase acquired currency in chat..."^[17] Nevertheless, Alloway was i 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 Fine art had already transited from art schools and small galleries to a major forcefulness in the artworld. But its success had not been in England. Practically simultaneously, and independently, New York City had become the hotbed for Popular Fine art.^[17]

In London, the almanac Royal Lodge of British Artists (RBA) exhibition of young talent in 1960 outset showed American pop influences. In January 1961, the most famous RBA-Immature 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 College'due south 1961 summer break, which is when Apple first fabricated contact with Andy Warhol – both subsequently 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 information technology was given its greatest impetus during the 1960s. The term "pop art" was officially introduced in Dec 1962; the occasion was a "Symposium on Pop Fine art" organized by the Museum of Modern Art.^[nineteen] By this time, American ad 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 fine art from the well-designed and clever commercial materials.^[six] Every bit the British viewed American popular civilization imagery from a somewhat removed perspective, their views were often instilled with romantic, sentimental and humorous overtones. By dissimilarity, American artists, bombarded every solar day with the diversity of mass-produced imagery, produced piece of work that was generally more bold and aggressive.^[10]

According to historian, curator and critic Henry Geldzahler, "Ray Johnson's collages Elvis Presley No. 1 and James Dean stand up every bit the Plymouth Rock of the Pop motility."^[20] 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 advertising his blueprint services printed via offset lithography. He afterward became known every bit the male parent of mail art as the founder of his "New York Correspondence School," working pocket-size by stuffing clippings and drawings into envelopes rather than working larger like his contemporaries.^[22] A note about the cover epitome in Jan 1958'southward Art News pointed out that "[Jasper] Johns' first ane-homo show ... places him with such better-known colleagues equally 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 afterward World War 2, was influenced by the earlier piece of 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 fourth dimension.^[24] His use of discarded readymade objects (in his Combines) and pop civilization 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.Due south. every bit well three-dimensional depictions of ale cans drew attention to questions of representation in fine art.^[27] Johns' and Rauschenberg'due south piece of work of the 1950s is oft referred to every bit 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 fine art. His work, and its employ of parody, probably defines the basic premise of pop fine art better than any other.^[ten] Selecting the onetime-fashioned comic strip as subject thing, Lichtenstein produces a difficult-edged, precise composition that documents while also parodying in a soft manner. Lichtenstein used oil and Magna paint in his all-time known works, such as Drowning Girl (1963), which was appropriated from the pb story in DC Comics' Secret Hearts #83. (Drowning Daughter is role of the collection of the Museum of Modern Fine art.)^[30] His piece of work features thick outlines, bold colors and Ben-Day dots to represent sure colors, equally 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 style looks completely different, 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's."^[31] Pop art merges pop and mass culture with fine 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 also treat the subject area in an impersonal manner clearly illustrating the idealization of mass product.^[10]

Andy Warhol is probably the almost famous effigy in pop art. In fact, art critic Arthur Danto one time chosen Warhol "the nearest thing to a philosophical genius the history of art has produced".^[nineteen] Warhol attempted to take pop beyond an artistic style to a life way, and his work oftentimes displays a lack of human arrayal that dispenses with the irony and parody of many of his peers.^{[32] [33]}

Early on U.South. exhibitions [edit]

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

Claes Oldenburg, Jim Dine and Tom Wesselmann had their start shows in the Judson Gallery in 1959 and 1960 and later in 1960 through 1964 forth with James Rosenquist, George Segal and others at the Greenish 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 bound show, Environments, Situations, Spaces.^{[34] [35]} Andy Warhol held his offset 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 flavor. Warhol sold the ready of paintings to Blum for $one,000; in 1996, when the Museum of Modern Art caused information technology, the set was valued at $15 million.^[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 magazine'south final effect, Nomad/New York. The essay was one of the starting time on what would become known every bit pop fine art, though Gene did not apply the term. The essay, "4 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 motion, created many happenings, which were performance art-related productions of that time. The proper noun 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; art critic Barbara Rose; and screenwriter Rudy Wurlitzer.^[37] His commencement 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 nifty 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'due south 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 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 50-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 bear witness was seen past Europeans Martial Raysse, Niki de Saint Phalle and Jean Tinguely in New York, who were stunned by the size and wait of the American artwork. Likewise 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-dark soiree thrown by collector Burton Tremaine, Willem de Kooning appeared and was turned away by Tremaine, who ironically endemic a number of de Kooning'south works. Rosenquist recalled: "at that moment I thought, something in the art world has definitely changed".^[19] Turning away a respected abstract creative person proved that, as early as 1962, the pop art movement had begun to dominate art culture in New York.

A fleck before, 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 art museum exhibition in America was curated by Walter Hopps at the Pasadena Art Museum.^[39] Pop art was ready to change the art globe. 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.^[40] Another pivotal early exhibition was The American Supermarket organised by the Bianchini Gallery in 1964. The show was presented as a typical modest supermarket environment, except that everything in information technology—the produce, canned appurtenances, 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 project was recreated in 2002 as part of the Tate Gallery's Shopping: A Century of Art and Consumer Culture.^[41]

Past 1962, popular artists started exhibiting in commercial galleries in New York and Los Angeles; for some, it was their offset commercial one-human show. 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 kickoff New York show). The Leo Castelli Gallery presented Rauschenberg, Johns, and Lichtenstein. Martha Jackson showed Jim Dine and Allen Rock showed Wayne Thiebaud. By 1966, afterwards the Green 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 continued to represent Thiebaud, and Martha Jackson continued representing Robert Indiana.^[42]

In 1968, the São Paulo 9 Exhibition – Environs U.s.a.A.: 1957–1967 featured the "Who's Who" of pop art. Considered every bit a summation of the classical phase 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 creative movement founded in 1960 past the fine 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 Declaration of New Realism," in April 1960, proclaiming, "Nouveau Réalisme—new ways of perceiving the existent."^[45] This articulation proclamation was signed on 27 Oct 1960, in Yves Klein's workshop, past ix 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]

Gimmicky of American Pop Art—often conceived as its transposition in France—new realism was along with Fluxus and other groups one of the numerous tendencies of the advanced in the 1960s. The group initially chose Nice, on the French Riviera, every bit its home base since Klein and Arman both originated at that place; new realism is thus ofttimes retrospectively considered by historians to be an early representative of the École de Nice [fr] movement.^[46] In spite of the diversity of their plastic language, they perceived a common basis 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 advertizing reality".^[47]

Espana [edit]

In Spain, the study of pop art is associated with the "new figurative", which arose from the roots of the crunch of informalism. Eduardo Arroyo could be said to fit inside the popular fine art trend, on account 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 nearly all established artistic styles. Nevertheless, the Castilian artist who could be considered most authentically part of "popular" fine art is Alfredo Alcaín, because of the use he makes of popular images and empty spaces in his compositions.

Also in the category of Castilian pop art is the "Chronicle Team" (El Equipo Crónica), which existed in Valencia betwixt 1964 and 1981, formed by the artists Manolo Valdés and Rafael Solbes. Their movement can be characterized as "pop" because of its apply of comics and publicity images and its simplification of images and photographic compositions. Filmmaker Pedro Almodóvar emerged from Madrid'southward "La Movida" subculture of the 1970s making depression budget super 8 pop art movies, and he was later chosen the Andy Warhol of Spain past the media at the time. In the book Almodovar on Almodovar, he is quoted equally saying that the 1950s film "Funny Face" was a key inspiration for his piece of work. One pop trademark in Almodovar'due south films is that he ever produces a simulated commercial to be inserted into a scene.

New Zealand [edit]

In New Zealand, pop art has predominately flourished since the 1990s, and is often continued to Kiwiana. Kiwiana is a popular-centered, idealised representation of classically Kiwi icons, such as meat pies, kiwifruit, tractors, jandals, Four Square supermarkets; the inherent campness of this is ofttimes subverted to signify cultural letters.^[48] Dick Frizzell is a famous New Zealand popular artist, known for using older Kiwiana symbols in ways that parody modern civilisation. For instance, 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'south historically subdued impact on the earth; naive art is connected to Aotearoan pop fine art this way.^[49]

This can exist likewise done in an abrasive and deadpan fashion, as with Michel Tuffrey's famous work Pisupo Lua Afe (Corned Beef 2000). Of Samoan beginnings, Tuffery constructed the work, which represents a bull, out of processed food cans known as pisupo. It is a unique work of western popular art because Tuffrey includes themes of neocolonialism and racism against not-western cultures (signified past the food cans the work is made of, which represent economic dependence brought on Samoans past the west). The undeniable indigenous viewpoint makes information technology stand out against more common non-ethnic works of popular art.^{[l] [51]}

Ane of New Zealand's earliest and famous popular artists is Billy Apple, one of the few non-British members of the Purple Order of British Artists. Featured amid the likes of David Hockney, American R.B. Kitaj and Peter Blake in the Jan 1961 RBA exhibition Immature Contemporaries, Apple quickly 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 nativity name of Barrie Bates. He sought to distinguish himself by appearance as well every bit name, so bleached his hair and eyebrows with Lady Clairol Instant Creme Whip. Later, Apple was associated with the 1970s Conceptual Art motion. ^[52]

Nippon [edit]

In Japan, popular art evolved from the nation's prominent advanced scene. The apply of images of the mod world, copied from magazines in the photomontage-way paintings produced past 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 testify that put Pop Art on the map.^[54] The work of Yayoi Kusama contributed to the development of popular fine art and influenced many other artists, including Andy Warhol.^{[55] [56]} In the mid-1960s, graphic designer Tadanori Yokoo became 1 of the about 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 artist at that fourth dimension was Keiichi Tanaami. Iconic characters from Japanese manga and anime take besides become symbols for pop fine art, such as Speed Racer and Astro Male child. Japanese manga and anime also influenced afterwards pop artists such as Takashi Murakami and his superflat motility.

Italian republic [edit]

In Italy, past 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 past Piero Manzoni, Lucio Del Pezzo, Mimmo Rotella and Valerio Adami.

Italian pop fine art originated in 1950s culture – the works of the artists Enrico Baj and Mimmo Rotella to exist precise, rightly considered the forerunners of this scene. In fact, information technology was around 1958–1959 that Baj and Rotella abandoned their previous careers (which might be generically defined equally belonging to a non-representational genre, despite being thoroughly post-Dadaist), to catapult themselves into a new globe of images, and the reflections on them, which was springing upwards all around them. Rotella'due south torn posters showed an ever more than figurative taste, often explicitly and deliberately referring to the great icons of the times. Baj'south 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, route 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 every bit 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 it. 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 society. Yet this is not an exclusive element; at that place is a long line of artists, including Gianni Ruffi, Roberto Barni, Silvio Pasotti, Umberto Bignardi, and Claudio Cintoli, who have on reality as a toy, as a great pool of imagery from which to draw cloth with disenchantment and frivolity, questioning the traditional linguistic part models with a renewed spirit of "allow me take fun" à la Aldo Palazzeschi.^[58]

Kingdom of belgium [edit]

In Belgium, pop art was represented to some extent past Paul Van Hoeydonck, whose sculpture Fallen Astronaut was left on the Moon during 1 of the Apollo missions, also as past other notable pop artists. Internationally recognized artists such as Marcel Broodthaers ( 'vous êtes doll? "), Evelyne Axell and Panamarenko are indebted to the popular art motility; Broodthaers'south dandy influence was George Segal. Another well-known creative person, Roger Raveel, mounted a birdcage with a real alive pigeon in i of his paintings. By the cease of the 1960s and early on 1970s, pop fine art references disappeared from the work of some of these artists when they started to prefer a more disquisitional attitude towards America considering of the Vietnam State of war's increasingly gruesome character. Panamarenko, even so, has retained the irony inherent in the popular art movement up to the present 24-hour interval. Evelyne Axell from Namur was a prolific pop-artist in the 1964–1972 flow. Axell was i of the first female person pop artists, had been mentored by Magritte and her best-known painting is Ice Cream.^[59]

Netherlands [edit]

While there was no formal pop fine art movement in the Netherlands, there were a grouping of artists that spent time in New York during the early years of pop fine art, and drew inspiration from the international pop art movement. Representatives of Dutch pop fine art include Daan van Golden, Gustave Asselbergs, Jacques Frenken, January Cremer, Wim T. Schippers, and Woody van Amen. They opposed the Dutch petit conservative mentality by creating humorous works with a serious undertone. Examples of this nature include Sex O'Clock, by Woody van Amen, and Crucifix / Target, past Jacques Frenken.^[sixty]

Russia [edit]

Russia was a little belatedly to become role of the popular art motion, and some of the artwork that resembles pop art only surfaced around the early 1970s, when Russian federation was a communist land and assuming artistic statements were closely monitored. Russia's ain version of pop fine art was Soviet-themed and was referred to as Sots Art. Afterward 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, Assistance Me to Survive This Deadly Love in 1990. It might be argued that the Soviet posters fabricated in the 1950s to promote the wealth of the nation were in itself a course of pop art.^[61]

Notable artists [edit]

• Baton Apple (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)
• Scarlet Grooms (built-in 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 (born 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 Cocky (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)

See also [edit]

• Art popular
• Chicago Imagists
• Ferus Gallery
• Sidney Janis
• Leo Castelli
• Greenish Gallery
• New Painting of Common Objects
• Figuration Libre (fine art movement)
• Lowbrow (art move)
• 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, Yard., Popular 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 east 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 Fine art & Popular Culture, New York: The Museum of Mod Art, 1990
7. ^ "History, Travel, Arts, Science, People, Places | Smithsonian". Smithsonianmag.com . Retrieved 2015-12-30 .
8. ^ "Modern Dearest". The New Yorker. 2007-08-06. Retrieved 2015-12-thirty .
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25. ^ "Fine 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 recollect, "Why non?"' Since Rauschenberg is considered to be a pioneer in pop fine art, this is probably where the movement went off on its particular tangent. Why not make art out of old newspapers, bits of clothing, Coke bottles, books, skates, clocks?
26. ^ Sandler, Irving H. The New York Schoolhouse: 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.
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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 978-1-4381-4066-seven
• Francis, Marker 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.West. Norton & Company, Inc. in clan with the Whitney Museum of American Art.
• Lifshitz, Mikhail, The Crisis of Ugliness: From Cubism to Popular-Fine art. Translated and with an Introduction past David Riff. Leiden: BRILL, 2018 (originally published in Russian past 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 (April 1963) "A symposium on Pop Art" Arts Mag, pp. 36–45. Transcript of symposium held at the Museum of Modern Fine art on December xiii, 1962.

External links [edit]

Wikimedia Commons has media related to Popular art.

Wikiquote has quotations related to: Pop fine art

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

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