Pop Art Which Utilized the Techniques of Consumerism Reached Its Zenith During the

Art move

Pop art is an fine art movement that emerged in the United kingdom and the United States during the mid- to belatedly-1950s.^{[ane] [two]} The movement presented a claiming to traditions of fine art by including imagery from popular and mass culture, such as advert, comic books and mundane mass-produced objects. One of its aims is to use images of popular (as opposed to elitist) civilization in fine art, emphasizing the banal or kitschy elements of any culture, near oft through the use of irony.^[3] It is as well associated with the artists' use of mechanical means of reproduction or rendering techniques. In popular fine art, cloth is sometimes visually removed from its known context, isolated, or combined with unrelated material.^{[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 among others in the United States. Pop art is widely interpreted as a reaction to the then-ascendant ideas of abstract expressionism, every bit well as an expansion of those ideas.^[4] Due to its utilization of found objects and images, it is like to Dada. Pop art and minimalism are considered to exist art movements that precede postmodern fine art, or are some of the earliest examples of postmodern art themselves.^[five]

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

Origins [edit]

The origins of pop art in North America adult differently from Uk.^[3] In the Usa, pop art was a response past artists; information technology 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.^{[4] [vi]} In the U.Due south., some artwork past Larry Rivers, Alex Katz and Human being Ray predictable popular fine art.^[vii]

By contrast, the origins of pop art in post-State of war U.k., 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 lodge.^{[half dozen]} Early popular art in U.k. was a matter 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 same subjects, popular art replaced the subversive, satirical, and anarchic impulses of the Dada motility with a discrete affidavit of the artifacts of mass culture.^[4] Amongst those artists in Europe seen as producing work leading up to pop fine art are: Pablo Picasso, Marcel Duchamp, and Kurt Schwitters.

Proto-pop [edit]

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

United Kingdom: the Independent Group [edit]

The Independent Group (IG), founded in London in 1952, is regarded as the forerunner to the popular art move.^{[2] [10]} They were a gathering of young painters, sculptors, architects, writers and critics who were challenging prevailing modernist approaches to civilisation likewise as traditional views of fine art. Their group discussions centered on pop civilization implications from elements such every bit mass advertising, movies, product design, comic strips, scientific discipline fiction and applied science. At the outset Independent Group meeting in 1952, co-founding fellow member, creative person 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.^{[ii] [10]} This material of "found objects" such as advertising, comic book characters, mag covers and diverse mass-produced graphics mostly represented American popular culture. 1 of the collages in that presentation was Paolozzi's I was a Rich Man's Plaything (1947), which includes the first use of the word "popular", appearing in a cloud of fume emerging from a revolver.^{[2] [11]} Following Paolozzi's seminal presentation in 1952, the IG focused primarily on the imagery of American popular civilization, particularly mass advertising.^[vi]

Co-ordinate to the son of John McHale, the term "pop fine art" was outset 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 concord that the term was used in Independent Group discussions by mid-1955.)

"Pop art" as a moniker was and then used in discussions past IG members in the Second Session of the IG in 1955, and the specific term "pop art" showtime appeared in published print in the commodity "But Today Nosotros Collect Ads" by IG members Alison and Peter Smithson in Ark mag in 1956.^[15] Even so, the term is often credited to British art critic/curator Lawrence Alloway for his 1958 essay titled The Arts and the Mass Media, even though the precise language he uses is "popular mass culture".^[16] "Furthermore, what I meant by it then is not what information technology ways now. I used the term, and too 'Pop Civilisation' to refer to the products of the mass media, not to works of fine art that depict upon pop civilization. In any case, sometime between the wintertime of 1954–55 and 1957 the phrase acquired currency in conversation..."^[17] Even so, Alloway was one of the leading critics to defend the inclusion of the imagery of mass civilization in the fine arts. Alloway antiseptic these terms in 1966, at which time Popular Art had already transited from art schools and small galleries to a major force in the artworld. But its success had not been in England. Practically simultaneously, and independently, New York City had become the hotbed for Popular Art.^[17]

In London, the annual Royal Lodge of British Artists (RBA) exhibition of young talent in 1960 beginning showed American pop influences. In January 1961, the most 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 tree 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 year. Apple and Hockney traveled together to New York during the Royal College'southward 1961 summer break, which is when Apple showtime fabricated contact with Andy Warhol – both later moved to the United States and Apple became involved with the New York pop fine art scene.^[18]

Usa [edit]

Although pop art began in the early 1950s, in America it was given its greatest impetus during the 1960s. The term "pop fine art" was officially introduced in Dec 1962; the occasion was a "Symposium on Popular Art" organized past the Museum of Mod Art.^[19] Past this fourth dimension, American advertising 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 distance fine art from the well-designed and clever commercial materials.^{[half dozen]} Equally the British viewed American popular culture imagery from a somewhat removed perspective, their views were ofttimes instilled with romantic, sentimental and humorous overtones. By contrast, American artists, bombarded every 24-hour interval with the diversity of mass-produced imagery, produced work that was more often than not 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 movement."^[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 after became known every bit the male parent of postal service fine art as the founder of his "New York Correspondence School," working pocket-sized past stuffing clippings and drawings into envelopes rather than working larger similar his contemporaries.^[22] A note most the cover paradigm in January 1958's Art News pointed out that "[Jasper] Johns' first 1-human being prove ... places him with such better-known colleagues equally Rauschenberg, Twombly, Kaprow and Ray Johnson".^[23]

Indeed, ii other important artists in the establishment of America's pop art vocabulary were the painters Jasper Johns and Robert Rauschenberg.^[x] Rauschenberg, who similar Ray Johnson attended Black Mount College in Northward Carolina afterwards 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 dominant modernist perspective of his time.^[24] His utilize of discarded readymade objects (in his Combines) and popular 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. as well 3-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 singled-out from the prototypical American pop art which exploded in the early on 1960s.^{[28] [29]}

Roy Lichtenstein is of equal importance to American pop art. His work, and its utilise of parody, probably defines the bones premise of pop art better than whatever other.^[10] Selecting the old-fashioned comic strip equally field of study matter, Lichtenstein produces a difficult-edged, precise limerick that documents while also parodying in a soft manner. Lichtenstein used oil and Magna pigment in his all-time known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics' Secret Hearts #83. (Drowning Girl is function of the drove of the Museum of Modern Art.)^[30] His work features thick outlines, assuming colors and Ben-Twenty-four hour period dots to stand for sure colors, as if created by photographic reproduction. Lichtenstein said, "[abstract expressionists] put things downwardly on the sheet and responded to what they had done, to the color positions and sizes. My fashion looks completely dissimilar, but the nature of putting downwardly lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock'due south or Kline's."^[31] Pop fine art merges popular and mass civilisation with fine art while injecting humor, irony, and recognizable imagery/content into the mix.

The paintings of Lichtenstein, like those of Andy Warhol, Tom Wesselmann and others, share a straight attachment to the commonplace paradigm of American popular culture, but as well treat the subject in an impersonal style conspicuously illustrating the idealization of mass production.^[10]

Andy Warhol is probably the nearly famous effigy in popular art. In fact, art critic Arthur Danto one time called Warhol "the nearest thing to a philosophical genius the history of fine art has produced".^[xix] Warhol attempted to take pop beyond an artistic style to a life style, and his 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.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 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 spring evidence, 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, one for every season. Warhol sold the ready of paintings to Blum for $one,000; in 1996, when the Museum of Modern Art acquired it, the fix was valued at $xv million.^[19]

Donald Factor, the son of Max Gene Jr., and an art collector and co-editor of avant-garde literary mag Nomad, wrote an essay in the magazine's last issue, Nomad/New York. The essay was one of the offset on what would get known as pop fine art, though Cistron did non utilise the term. The essay, "Four Artists", focused on Roy Lichtenstein, James Rosenquist, Jim Dine, and Claes Oldenburg.^[36]

In the 1960s, Oldenburg, who became associated with the pop fine art movement, created many happenings, which were performance art-related productions of that time. The name he gave to his ain 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 outset wife, Patty Mucha, who sewed many of his early soft sculptures, was a constant performer in his happenings. This brash, often humorous, approach to fine art was at great odds with the prevailing sensibility that, past its nature, art dealt with "profound" expressions or ideas. In December 1961, he rented a store on Manhattan's Lower East Side to firm The Store, a calendar month-long installation he had get-go 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'due south 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 fine art. The 50-iv 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 prove 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. Besides shown were Marisol, Mario Schifano, Enrico Baj and Öyvind Fahlström. Janis lost some of his abstract expressionist artists when Mark Rothko, Robert Motherwell, Adolph Gottlieb and Philip Guston quit the gallery, but gained Dine, Oldenburg, Segal and Wesselmann.^[38] At an opening-night soiree thrown by collector Burton Tremaine, Willem de Kooning appeared and was turned away by Tremaine, who ironically endemic a number of de Kooning's works. Rosenquist recalled: "at that moment I thought, something in the fine art world has definitely changed".^[19] Turning away a respected abstract artist proved that, as early as 1962, the pop fine art movement had begun to dominate art culture in New York.

A fleck before, on the West Declension, 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 prove. This first pop art museum exhibition in America was curated past Walter Hopps at the Pasadena Art Museum.^[39] Pop art was gear up to change the art earth. New York followed Pasadena in 1963, when the Guggenheim Museum exhibited Six Painters and the Object, curated past Lawrence Alloway. The artists were Jim Dine, Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, James Rosenquist, and Andy Warhol.^[xl] Another pivotal early exhibition was The American Supermarket organised by the Bianchini Gallery in 1964. The show was presented as a typical minor supermarket surroundings, except that everything in it—the produce, canned appurtenances, meat, posters on the wall, etc.—was created by prominent pop artists of the time, 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]

By 1962, pop artists started exhibiting in commercial galleries in New York and Los Angeles; for some, it was their first commercial i-man show. The Ferus Gallery presented Andy Warhol in Los Angeles (and Ed Ruscha in 1963). In New York, the Greenish Gallery showed Rosenquist, Segal, Oldenburg, and Wesselmann. The Stable Gallery showed R. Indiana and Warhol (in his start New York show). The Leo Castelli Gallery presented Rauschenberg, Johns, and Lichtenstein. Martha Jackson showed Jim Dine and Allen Stone showed Wayne Thiebaud. Past 1966, after 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 continued to correspond Thiebaud, and Martha Jackson continued representing Robert Indiana.^[42]

In 1968, the São Paulo 9 Exhibition – Environment U.s.a.A.: 1957–1967 featured the "Who'southward Who" of pop art. Considered equally a summation of the classical stage 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]

France [edit]

Nouveau réalisme refers to an artistic movement 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 group, titled the "Constitutive Declaration of New Realism," in April 1960, proclaiming, "Nouveau Réalisme—new ways of perceiving the existent."^[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 past César, Mimmo Rotella, then Niki de Saint Phalle and Gérard Deschamps. The artist Christo showed with the group. It was dissolved in 1970.^[45]

Contemporary of American Pop Art—oftentimes conceived as its transposition in France—new realism was forth with Fluxus and other groups 1 of the numerous tendencies of the avant-garde in the 1960s. The grouping initially chose Prissy, on the French Riviera, as its home base since Klein and Arman both originated there; new realism is thus often 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 piece of 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]

Espana [edit]

In Spain, the study 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 business relationship of his interest in the surround, his critique of our media culture which incorporates icons of both mass media communication and the history of painting, and his scorn for near all established artistic styles. However, the Spanish artist who could be considered most authentically part of "pop" art is Alfredo Alcaín, considering of the use he makes of pop images and empty spaces in his compositions.

Also in the category of Spanish 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 movement can be characterized as "pop" because of its use of comics and publicity images and its simplification of images and photographic compositions. Filmmaker Pedro Almodóvar emerged from Madrid's "La Movida" subculture of the 1970s making depression upkeep super 8 pop fine art movies, and he was afterwards called the Andy Warhol of Spain past the media at the time. In the volume Almodovar on Almodovar, he is quoted as maxim that the 1950s moving picture "Funny Face" was a central inspiration for his work. One pop trademark in Almodovar'due south films is that he always produces a simulated commercial to be inserted into a scene.

New Zealand [edit]

In New Zealand, popular fine art has predominately flourished since the 1990s, and is often 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 frequently subverted to signify cultural messages.^[48] Dick Frizzell is a famous New Zealand pop artist, known for using older Kiwiana symbols in ways that parody modern civilisation. For example, Frizzell enjoys imitating the work of foreign artists, giving their works a unique New Zealand view or influence. This is done to show New Zealand's historically subdued impact on the world; naive fine art is connected to Aotearoan pop art this manner.^[49]

This can exist also done in an annoying and deadpan style, as with Michel Tuffrey'due south famous work Pisupo Lua Afe (Corned Beef 2000). Of Samoan ancestry, Tuffery constructed the work, which represents a bull, out of processed food cans known as pisupo. It is a unique work of western pop art because Tuffrey includes themes of neocolonialism and racism confronting non-western cultures (signified past the food cans the work is made of, which represent economic dependence brought on Samoans by the westward). The undeniable indigenous viewpoint makes it stand out against more than common not-indigenous works of pop art.^{[50] [51]}

One of New Zealand's primeval and famous pop artists is Billy Apple, ane of the few not-British members of the Majestic 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 quickly 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 nascency name of Barrie Bates. He sought to distinguish himself past advent besides as name, and then bleached his pilus and eyebrows with Lady Clairol Instant Creme Whip. Afterwards, Apple was associated with the 1970s Conceptual Art motion. ^[52]

Japan [edit]

In Nippon, pop art evolved from the nation'southward prominent avant-garde scene. The employ of images of the modern world, copied from magazines in the photomontage-mode paintings produced by Harue Koga in the tardily 1920s and early 1930s, foreshadowed elements of pop fine art.^[53] The Japanese Gutai motility led to a 1958 Gutai exhibition at Martha Jackson'south New York gallery that preceded by two years her famous New Forms New Media show that put Pop Art on the map.^[54] The piece of 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 popular artists and an international symbol for Japanese pop 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 have 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 motility.

Italy [edit]

In Italy, by 1964, pop art was known and took different forms, such as the "Scuola di Piazza del Popolo" in Rome, with pop artists such as 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, it was effectually 1958–1959 that Baj and Rotella abased their previous careers (which might exist generically divers every bit belonging to a non-representational genre, despite being thoroughly post-Dadaist), to catapult themselves into a new world of images, and the reflections on them, which was springing upward all effectually them. Rotella'south torn posters showed an always more figurative taste, often explicitly and deliberately referring to the slap-up icons of the times. Baj's compositions were steeped in gimmicky kitsch, which turned out to be a "aureate mine" of images and the stimulus for an entire generation of artists.

The novelty came from the new visual panorama, both inside "domestic walls" and out-of-doors. Cars, road signs, tv set, all the "new globe", everything can belong to the world of fine art, which itself is new. In this respect, Italian popular fine art takes the same ideological path as that of the international scene. The simply thing that changes is the iconography and, in some cases, the presence of a more than critical attitude toward it. Even in this case, the prototypes can exist traced back to the works of Rotella and Baj, both far from neutral in their relationship with society. Notwithstanding 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 equally a toy, as a great pool of imagery from which to draw material with disenchantment and frivolity, questioning the traditional linguistic part models with a renewed spirit of "let me take fun" à la Aldo Palazzeschi.^[58]

Belgium [edit]

In Kingdom of belgium, pop art was represented to some extent by Paul Van Hoeydonck, whose sculpture Fallen Astronaut was left on the Moon during i of the Apollo missions, as well as by other notable pop artists. Internationally recognized artists such as Marcel Broodthaers ( 'vous êtes doll? "), Evelyne Axell and Panamarenko are indebted to the pop art motility; Broodthaers's smashing influence was George Segal. Another well-known creative person, Roger Raveel, mounted a birdcage with a existent live dove in one of his paintings. Past the finish 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 disquisitional mental attitude towards America because of the Vietnam War'southward increasingly gruesome character. Panamarenko, however, has retained the irony inherent in the pop art motility up to the present day. Evelyne Axell from Namur was a prolific pop-creative person in the 1964–1972 period. Axell was ane of the first female pop artists, had been mentored by Magritte and her best-known painting is Water ice Foam.^[59]

Netherlands [edit]

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

Russia [edit]

Russian federation was a little late to become part of the pop fine art movement, and some of the artwork that resembles popular art only surfaced around the early on 1970s, when Russia was a communist state and bold creative statements were closely monitored. Russia's own version of pop art was Soviet-themed and was referred to equally Sots Fine art. Subsequently 1991, the Communist Party lost its power, and with it came a freedom to express. Popular art in Russia took on another class, epitomised by Dmitri Vrubel with his painting titled My God, Help Me to Survive This Deadly Beloved 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 form of pop 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 (built-in 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 (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 (built-in 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 (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 (born 1934)
• George Segal (1924–2000)
• Colin Self (born 1941)
• Marjorie Strider (1931–2014)
• Elaine Sturtevant (1924-2014)
• Wayne Thiebaud (built-in 1920)
• Joe Tilson (born 1928)
• Andy Warhol (1928–1987)
• Idelle Weber (1932–2020)
• John Wesley (born 1928)
• Tom Wesselmann (1931–2004)

Meet too [edit]

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

References [edit]

1. ^ Pop Art: A Brief History, MoMA Learning
2. ^ ^{a b c d e} Livingstone, M., Pop Art: A Standing History, New York: Harry N. Abrams, Inc., 1990
3. ^ ^{a b c} de la Croix, H.; Tansey, R., Gardner's Fine 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 Printing.
6. ^ ^{a b c d} Gopnik, A.; Varnedoe, G., High & Low: Modern Art & Pop Civilization, New York: The Museum of Modernistic 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 2015-12-30 .
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15. ^ Alison and Peter Smithson, "Just Today We Collect Ads", reprinted on page 54 in Mod Dreams The Rise and Fall of Popular, published by ICA and MIT, ISBN 0-262-73081-2
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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 movement went off on its detail tangent. Why not make fine 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-ane pp. 174–195, Rauschenberg and Johns; pp. 103–111, Rivers and the gestural realists.
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Further reading [edit]

• Bloch, Marking. The Brooklyn Track. "Gutai: 1953 –1959", June 2018.
• Diggory, Terence (2013) Encyclopedia of the New York Schoolhouse Poets (Facts on File Library of American Literature). ISBN 978-1-4381-4066-7
• Francis, Marking and Foster, Hal (2010) Pop. London and New York: Phaidon.
• Haskell, Barbara (1984) BLAM! The Explosion of Popular, Minimalism and Performance 1958–1964. New York: West.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 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 Magazine, pp. 36–45. Transcript of symposium held at the Museum of Modern Art on December xiii, 1962.

External links [edit]

Wikimedia Commons has media related to Popular fine art.

Wikiquote has quotations related to: Pop art

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

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

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