Wonder Woman Pop Art 1970 Feminist Pop Art 1960

Fine art movement

Pop art is an art movement that emerged in the U.k. and the United States during the mid- to late-1950s.^{[1] [ii]} The movement presented a claiming to traditions of art by including imagery from popular and mass civilisation, such every bit advert, comic books and mundane mass-produced objects. I of its aims is to use images of popular (as opposed to elitist) culture in art, emphasizing the banal or kitschy elements of any civilization, most often through the utilise of irony.^[three] It is also associated with the artists' use of mechanical means of reproduction or rendering techniques. In popular art, material is sometimes visually removed from its known context, isolated, or combined with unrelated material.^{[two] [3]}

Amongst the early artists that shaped the pop fine art motility were Eduardo Paolozzi and Richard Hamilton in Uk, and Larry Rivers, Ray Johnson. Robert Rauschenberg and Jasper Johns among others in the U.s.a.. Pop art is widely interpreted as a reaction to the then-dominant ideas of abstract expressionism, as well as an expansion of those ideas.^[4] Due to its utilization of constitute objects and images, information technology is similar to Dada. Pop art and minimalism are considered to be fine art movements that precede postmodern art, or are some of the primeval examples of postmodern art themselves.^[5]

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

Origins [edit]

The origins of pop art in N America developed differently from Nifty Uk.^[three] In the United States, pop 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 abstruse expressionism.^{[four] [6]} In the U.S., some artwork by Larry Rivers, Alex Katz and Human Ray anticipated pop art.^[7]

Past contrast, the origins of popular art in post-War Great britain, while employing irony and parody, were more academic. 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 pop art in Britain was a matter of ideas fueled by American popular civilisation when viewed from afar.^[4] Similarly, pop fine art was both an extension and a repudiation of Dadaism.^[4] While pop fine art and Dadaism explored some of the same subjects, popular art replaced the destructive, satirical, and anarchic impulses of the Dada movement with a detached affirmation of the artifacts of mass culture.^[iv] Among those artists in Europe seen as producing work leading up to popular 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 "as found" cultural objects.^[4] During the 1920s, American artists Patrick Henry Bruce, Gerald Murphy, Charles Demuth and Stuart Davis created paintings that contained pop culture imagery (mundane objects culled from American commercial products and advertizing design), almost "prefiguring" the pop fine art motility.^{[8] [9]}

Uk: the Independent Grouping [edit]

The Contained Grouping (IG), founded in London in 1952, is regarded every bit the forerunner to the pop art motility.^{[2] [10]} They were a gathering of young painters, sculptors, architects, writers and critics who were challenging prevailing modernist approaches to civilisation as well as traditional views of fine art. Their grouping discussions centered on pop culture implications from elements such every bit mass advertising, movies, product pattern, comic strips, science fiction and technology. At the first Independent Grouping meeting in 1952, co-founding member, creative person and sculptor Eduardo Paolozzi presented a lecture using a series of collages titled Bunk! that he had assembled during his time in Paris between 1947 and 1949.^{[2] [10]} This material of "institute objects" such as advertising, comic book characters, magazine covers and various mass-produced graphics mostly represented American popular culture. Ane of the collages in that presentation was Paolozzi's I was a Rich Man's Plaything (1947), which includes the kickoff use of the word "pop", appearing in a cloud of smoke emerging from a revolver.^{[2] [eleven]} Following Paolozzi's seminal presentation in 1952, the IG focused primarily on the imagery of American popular civilization, particularly mass advertising.^[6]

Co-ordinate to the son of John McHale, the term "pop art" was beginning coined by his begetter in 1954 in chat 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 fine art" every bit a moniker was and so used in discussions by IG members in the 2d Session of the IG in 1955, and the specific term "pop art" first appeared in published impress in the article "But Today We Collect Ads" by IG members Alison and Peter Smithson in Ark mag in 1956.^[xv] Still, the term is ofttimes credited to British fine art critic/curator Lawrence Alloway for his 1958 essay titled The Arts and the Mass Media, fifty-fifty though the precise linguistic communication he uses is "popular mass culture".^[16] "Furthermore, what I meant by it and then is not what it means now. I used the term, and also 'Pop Civilization' to refer to the products of the mass media, not to works of art that draw upon popular culture. In any case, sometime betwixt the winter 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 culture in the fine arts. Alloway antiseptic these terms in 1966, at which fourth dimension Popular Art had already transited from fine art schools and small galleries to a major force in the artworld. But its success had not been in England. Practically simultaneously, and independently, New York Urban center had become the hotbed for Pop Art.^[17]

In London, the annual Imperial Society of British Artists (RBA) exhibition of young talent in 1960 first 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 Baton Apple, Allen Jones, Derek Boshier, Joe Tilson, Patrick Caulfield, Peter Phillips, Pauline Boty and Peter Blake on the map; Apple designed the posters and invitations for both the 1961 and 1962 Young Contemporaries exhibitions.^[18] Hockney, Kitaj and Blake went on to win prizes at the John-Moores-Exhibition in Liverpool in the aforementioned twelvemonth. Apple tree and Hockney traveled together to New York during the Royal College's 1961 summer break, which is when Apple first made contact with Andy Warhol – both later moved to the The states and Apple became involved with the New York pop art scene.^[18]

United States [edit]

Although pop art began in the early 1950s, in America it was given its greatest impetus during the 1960s. The term "popular art" was officially introduced in December 1962; the occasion was a "Symposium on Popular Fine art" organized by the Museum of Modern Fine art.^[19] Past this fourth dimension, American advertisement had adopted many elements of mod art and functioned at a very sophisticated level. Consequently, American artists had to search deeper for dramatic styles that would distance art from the well-designed and clever commercial materials.^[6] As the British viewed American pop culture imagery from a somewhat removed perspective, their views were often instilled with romantic, sentimental and humorous overtones. By dissimilarity, American artists, bombarded every day with the diversity of mass-produced imagery, produced 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 every bit the Plymouth Rock of the Pop movement."^[20] Author 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 design services printed via starting time lithography. He later on became known as the father of mail fine art as the founder of his "New York Correspondence School," working minor by stuffing clippings and drawings into envelopes rather than working larger like his contemporaries.^[22] A notation almost the cover image in January 1958'southward Art News pointed out that "[Jasper] Johns' outset ane-man prove ... places him with such better-known colleagues as Rauschenberg, Twombly, Kaprow and Ray Johnson".^[23]

Indeed, two other important artists in the establishment of America's pop fine art vocabulary were the painters Jasper Johns and Robert Rauschenberg.^[x] Rauschenberg, who like Ray Johnson attended Black Mountain Higher in Northward Carolina afterward 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 ascendant modernist perspective of his fourth dimension.^[24] His employ of discarded readymade objects (in his Combines) and pop culture imagery (in his silkscreen paintings) connected his works to topical events in everyday America.^{[10] [25] [26]} The silkscreen paintings of 1962–64 combined expressive brushwork with silkscreened magazine clippings from Life, Newsweek, and National Geographic. Johns' paintings of flags, targets, numbers, and maps of the U.S. equally well three-dimensional depictions of ale cans drew attending to questions of representation in art.^[27] Johns' and Rauschenberg's work of the 1950s is frequently referred to as Neo-Dada, and is visually distinct from the prototypical American popular fine art which exploded in the early on 1960s.^{[28] [29]}

Roy Lichtenstein is of equal importance to American pop art. His piece of work, and its use of parody, probably defines the basic premise of pop art better than any other.^[10] Selecting the erstwhile-fashioned comic strip as subject field affair, Lichtenstein produces a hard-edged, precise composition that documents while also parodying in a soft mode. Lichtenstein used oil and Magna pigment in his best known works, such every bit Drowning Daughter (1963), which was appropriated from the atomic number 82 story in DC Comics' Secret Hearts #83. (Drowning Girl is part of the collection of the Museum of Modern Fine art.)^[thirty] His work features thick outlines, bold colors and Ben-Day dots to represent certain colors, every bit if created past photographic reproduction. Lichtenstein said, "[abstruse expressionists] put things downwards on the canvas and responded to what they had done, to the colour positions and sizes. My fashion looks completely unlike, 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] Popular art merges popular and mass culture 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 direct attachment to the commonplace image of American pop culture, but also treat the discipline in an impersonal style clearly illustrating the idealization of mass product.^[x]

Andy Warhol is probably the well-nigh famous figure in popular art. In fact, art critic Arthur Danto once called Warhol "the nearest matter to a philosophical genius the history of art has produced".^[19] Warhol attempted to have pop beyond an artistic fashion to a life manner, and his work frequently displays a lack of human 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's Soup Cans, 1962.

Claes Oldenburg, Jim Dine and Tom Wesselmann had their first shows in the Judson Gallery in 1959 and 1960 and later on 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'south spring show, Environments, Situations, Spaces.^{[34] [35]} Andy Warhol held his first solo exhibition in Los Angeles in July 1962 at Irving Blum's Ferus Gallery, where he showed 32 paintings of Campell's soup cans, ane for every flavour. Warhol sold the gear up of paintings to Blum for $i,000; in 1996, when the Museum of Modern Art acquired it, the set was valued at $xv 1000000.^[19]

Donald Factor, the son of Max Factor Jr., and an art collector and co-editor of avant-garde literary magazine Nomad, wrote an essay in the magazine's concluding issue, Nomad/New York. The essay was one of the kickoff on what would become known as popular fine art, though Factor did not use 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 popular 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 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 first wife, Patty Mucha, who sewed many of his early soft sculptures, was a abiding performer in his happenings. This brash, often humorous, approach to art was at peachy odds with the prevailing sensibility that, by its nature, art dealt with "profound" expressions or ideas. In December 1961, he rented a store on Manhattan's Lower East 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 class 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 fine art. The fifty-4 artists shown included Richard Lindner, Wayne Thiebaud, Roy Lichtenstein (and his painting Blam), Andy Warhol, Claes Oldenburg, James Rosenquist, Jim Dine, Robert Indiana, Tom Wesselmann, George Segal, Peter Phillips, Peter Blake (The Love Wall from 1961), Öyvind Fahlström, Yves Klein, Arman, Daniel Spoerri, Christo and Mimmo Rotella. The show was seen by Europeans Martial Raysse, Niki de Saint Phalle and Jean Tinguely in New York, who were stunned by the size and wait of the American artwork. Too 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-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's works. Rosenquist recalled: "at that moment I thought, something in the art earth has definitely inverse".^[19] Turning abroad a respected abstract artist proved that, equally early equally 1962, the pop art movement had begun to boss art culture in New York.

A bit earlier, on the West Coast, Roy Lichtenstein, Jim Dine and Andy Warhol from New York Metropolis; Phillip Hefferton and Robert Dowd from Detroit; Edward Ruscha and Joe Goode from Oklahoma City; and Wayne Thiebaud from California were included in the New Painting of Common Objects evidence. This first pop art museum exhibition in America was curated by Walter Hopps at the Pasadena Art Museum.^[39] Pop art was ready to change the fine 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.^[40] Another pivotal early exhibition was The American Supermarket organised past the Bianchini Gallery in 1964. The show was presented equally a typical pocket-size supermarket environs, except that everything in information technology—the produce, canned appurtenances, meat, posters on the wall, etc.—was created past prominent popular artists of the time, including Apple tree, Warhol, Lichtenstein, Wesselmann, Oldenburg, and Johns. This project was recreated in 2002 equally part of the Tate Gallery's Shopping: A Century of Art and Consumer Civilisation.^[41]

By 1962, pop artists started exhibiting in commercial galleries in New York and Los Angeles; for some, it was their first commercial one-man 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 showtime New York bear witness). The Leo Castelli Gallery presented Rauschenberg, Johns, and Lichtenstein. Martha Jackson showed Jim Dine and Allen Stone showed Wayne Thiebaud. By 1966, after the Green Gallery and the Ferus Gallery 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 connected representing Robert Indiana.^[42]

In 1968, the São Paulo 9 Exhibition – Surround U.S.A.: 1957–1967 featured the "Who'south Who" of pop art. Considered every bit a summation of the classical phase of the American pop art menses, the exhibit was curated past 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 motility founded in 1960 by the art critic Pierre Restany^[44] and the artist Yves Klein during the first commonage exposition in the Apollinaire gallery in Milan. Pierre Restany wrote the original manifesto for the group, titled the "Constitutive Proclamation of New Realism," in April 1960, proclaiming, "Nouveau Réalisme—new ways of perceiving the existent."^[45] This joint proclamation was signed on 27 Oct 1960, in Yves Klein's workshop, past nine people: Yves Klein, Arman, Martial Raysse, Pierre Restany, Daniel Spoerri, Jean Tinguely and the Ultra-Lettrists, Francois Dufrêne, Raymond Hains, Jacques de la Villeglé; in 1961 these were joined by César, Mimmo Rotella, so Niki de Saint Phalle and Gérard Deschamps. The artist Christo showed with the grouping. Information technology was dissolved in 1970.^[45]

Contemporary 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 avant-garde in the 1960s. The group initially chose Nice, on the French Riviera, equally its dwelling house 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 ground for their work; this being a method of straight cribbing of reality, equivalent, in the terms used past Restany; to a "poetic recycling of urban, industrial and advertising reality".^[47]

Kingdom of spain [edit]

In Espana, 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 inside the pop art trend, on account of his involvement in the surroundings, his critique of our media civilisation which incorporates icons of both mass media communication and the history of painting, and his scorn for nearly all established creative styles. Notwithstanding, the Spanish artist who could be considered most authentically part of "pop" 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 Spanish pop art is the "Chronicle Squad" (El Equipo Crónica), which existed in Valencia between 1964 and 1981, formed past the artists Manolo Valdés and Rafael Solbes. Their movement can be characterized equally "popular" because of its employ 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 low budget super eight pop art movies, and he was subsequently chosen the Andy Warhol of Espana past the media at the time. In the book Almodovar on Almodovar, he is quoted as saying that the 1950s film "Funny Face" was a central inspiration for his work. One pop trademark in Almodovar's films is that he always produces a fake 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 pop-centered, idealised representation of classically Kiwi icons, such as meat pies, kiwifruit, tractors, jandals, 4 Square supermarkets; the inherent campness of this is often subverted to signify cultural letters.^[48] Dick Frizzell is a famous New Zealand pop artist, known for using older Kiwiana symbols in ways that parody modern culture. For case, 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 continued to Aotearoan pop art this way.^[49]

This can exist too done in an abrasive and deadpan fashion, every bit with Michel Tuffrey's famous work Pisupo Lua Afe (Corned Beef 2000). Of Samoan ancestry, Tuffery constructed the work, which represents a bull, out of processed nutrient cans known every bit pisupo. It is a unique work of western pop art because Tuffrey includes themes of neocolonialism and racism against non-western cultures (signified by the nutrient cans the piece of work is made of, which stand for economical dependence brought on Samoans by the west). The undeniable ethnic viewpoint makes it stand up out confronting more common not-indigenous works of popular art.^{[50] [51]}

I of New Zealand'south earliest and famous pop artists is Baton Apple, one of the few not-British members of the Royal Guild of British Artists. Featured amid the likes of David Hockney, American R.B. Kitaj and Peter Blake in the Jan 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 birth proper noun of Barrie Bates. He sought to distinguish himself by advent as well as name, and so bleached his hair and eyebrows with Lady Clairol Instant Creme Whip. Later on, Apple was associated with the 1970s Conceptual Art movement. ^[52]

Nihon [edit]

In Japan, popular art evolved from the nation's prominent avant-garde scene. The use of images of the modern world, copied from magazines in the photomontage-fashion paintings produced by Harue Koga in the tardily 1920s and early 1930s, foreshadowed elements of pop fine art.^[53] The Japanese Gutai motion led to a 1958 Gutai exhibition at Martha Jackson's New York gallery that preceded by two 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 pop art and influenced many other artists, including Andy Warhol.^{[55] [56]} In the mid-1960s, graphic designer Tadanori Yokoo became one of the most successful pop artists and an international symbol for Japanese 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, among others.^[57] Another leading pop creative person at that fourth dimension was Keiichi Tanaami. Iconic characters from Japanese manga and anime have also become symbols for popular art, such as Speed Racer and Astro Boy. Japanese manga and anime also influenced later popular artists such every bit Takashi Murakami and his superflat movement.

Italy [edit]

In Italy, past 1964, pop art was known and took unlike forms, such every bit 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 culture – the works of the artists Enrico Baj and Mimmo Rotella to be precise, rightly considered the forerunners of this scene. In fact, it was around 1958–1959 that Baj and Rotella abandoned their previous careers (which might be generically defined equally belonging to a non-representational genre, despite being thoroughly post-Dadaist), to catapult themselves into a new world of images, and the reflections on them, which was springing up all around them. Rotella's torn posters showed an ever more figurative taste, often explicitly and deliberately referring to the keen icons of the times. Baj'due south compositions were steeped in gimmicky kitsch, which turned out to be a "golden 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 vest to the world of art, which itself is new. In this respect, Italian popular fine art takes the aforementioned ideological path equally that of the international scene. The just affair that changes is the iconography and, in some cases, the presence of a more critical mental 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 human relationship with club. Yet this is not an exclusive element; in that location 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, as a great pool of imagery from which to draw material with disenchantment and frivolity, questioning the traditional linguistic role models with a renewed spirit of "let me have fun" à la Aldo Palazzeschi.^[58]

Belgium [edit]

In Belgium, 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 equally by other notable popular artists. Internationally recognized artists such as Marcel Broodthaers ( 'vous êtes doll? "), Evelyne Axell and Panamarenko are indebted to the pop art move; Broodthaers's groovy influence was George Segal. Another well-known creative person, Roger Raveel, mounted a birdcage with a existent alive pigeon in one of his paintings. By the terminate of the 1960s and early 1970s, popular art references disappeared from the work of some of these artists when they started to adopt a more than critical mental attitude towards America because of the Vietnam War's increasingly gruesome character. Panamarenko, still, has retained the irony inherent in the pop art movement upward to the present solar day. Evelyne Axell from Namur was a prolific pop-creative person in the 1964–1972 period. Axell was one of the first female popular artists, had been mentored by Magritte and her best-known painting is Water ice Cream.^[59]

Netherlands [edit]

While there was no formal popular fine art movement in the Netherlands, there were a grouping of artists that spent fourth dimension in New York during the early on years of pop art, and drew inspiration from the international pop fine art movement. Representatives of Dutch popular art include Daan van Gold, Gustave Asselbergs, Jacques Frenken, Jan 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 Sexual activity O'Clock, past Woody van Amen, and Crucifix / Target, by Jacques Frenken.^[60]

Russian federation [edit]

Russian federation was a petty late to become part of the popular fine art movement, and some of the artwork that resembles pop art only surfaced around the early 1970s, when Russian federation was a communist country and bold artistic statements were closely monitored. Russia'due south ain version of popular art was Soviet-themed and was referred to as Sots Art. After 1991, the Communist Political party lost its power, and with it came a freedom to express. Pop art in Russia took on another grade, epitomised by Dmitri Vrubel with his painting titled My God, Assistance Me to Survive This Deadly Dearest in 1990. It might be argued that the Soviet posters made in the 1950s to promote the wealth of the nation were in itself a form of pop fine 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)
• Red Grooms (born 1937)
• Richard Hamilton (1922–2011)
• Keith Haring (1958–1990)
• Jann Haworth (born 1942)
• David Hockney (built-in 1937)
• Dorothy Iannone (born 1933)
• Robert Indiana (1928–2018)
• Jasper Johns (born 1930)
• Ray Johnson (1927-1995)
• Allen Jones (born 1937)
• Alex Katz (built-in 1927)
• Corita Kent (1918–1986)
• Konrad Klapheck (built-in 1935)
• Kiki Kogelnik (1935–1997)
• Nicholas Krushenick (1929–1999)
• Yayoi Kusama (built-in 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 (built-in 1920)
• Joe Tilson (built-in 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
• Green Gallery
• New Painting of Common Objects
• Figuration Libre (art movement)
• Lowbrow (fine art movement)
• Nouveau réalisme
• Neo-pop
• Op fine art
• Plop fine art
• Retro art
• Superflat
• SoFlo Superflat

References [edit]

1. ^ Popular Art: A Brief History, MoMA Learning
2. ^ ^{a b c d e} Livingstone, Yard., Popular Art: A Continuing History, New York: Harry Due north. 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 due east f} Piper, David. The Illustrated History of Fine art, ISBN 0-7537-0179-0, p486-487.
5. ^ Harrison, Sylvia (2001-08-27). Popular Art and the Origins of Post-Modernism. Cambridge University Press.
6. ^ ^{a b c d} Gopnik, A.; Varnedoe, K., High & Low: Modern Art & Popular Civilisation, New York: The Museum of Modern Fine art, 1990
7. ^ "History, Travel, Arts, Science, People, Places | Smithsonian". Smithsonianmag.com . Retrieved 2015-12-thirty .
8. ^ "Mod Love". The New Yorker. 2007-08-06. Retrieved 2015-12-30 .
9. ^ Wayne Chicken, American Art: History and . p.464.
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11. ^ "'I was a Rich Man's Plaything', Sir Eduardo Paolozzi". Tate. 2015-12-10. Retrieved 2015-12-30 .
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14. ^ "Popular art", The Concise Oxford Dictionary of Art Terms, Michael Clarke, Oxford Academy Press, 2001.
15. ^ Alison and Peter Smithson, "Only Today We Collect Ads", reprinted on page 54 in Mod Dreams The Rise and Autumn 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, Pop Fine art, Taschen, 2004, p. 6, ISBN 3822822183
18. ^ ^{a b} Barton, Christina (2010). Billy Apple: British and American Works 1960–69. London: The Mayor Gallery. pp. xi–21. ISBN978-0-9558367-three-2.
19. ^ ^{a b c d} Scherman, Tony. "When Pop Turned the Art World Upside Down." American Heritage 52.1 (February 2001), 68.
20. ^ Geldzahler, Henry in Pop Art: 1955–1970 catalogue, Art Gallery of New S Wales, Sydney, 1985
21. ^ Lippard, Lucy in Ray Johnson: Correspondences catalogue, Wexner Center/Whitney Museum, 2000
22. ^ Bloch, Mark. "An Illustrated Introduction to Ray Johnson 1927-1995", 1995
23. ^ Author unknown. "(Table of contents, Untitled notation about comprehend.)", Art News, vol. 56, no. 9, January 1958
24. ^ Rauschenberg, Robert; Miller, Dorothy C. (1959). Sixteen Americans [exhibition]. New York: Museum of Modern Fine art. p. 58. ISBN 978-0029156704. OCLC 748990996. "Painting relates to both fine art and life. Neither can exist made. (I effort to act in that gap between the two.)"
25. ^ "Fine art: Popular Art – Cult of the Commonplace". Time. 1963-05-03. ISSN 0040-781X. Retrieved 2020-07-07 . Robert Rauschenberg, 37, remembers an art instructor who 'taught me to think, "Why non?"' Since Rauschenberg is considered to exist a pioneer in pop art, this is probably where the movement went off on its particular tangent. Why not brand art out of quondam 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 0-06-438505-1 pp. 174–195, Rauschenberg and Johns; pp. 103–111, Rivers and the gestural realists.
27. ^ Rosenthal, Nan (October 2004). "Jasper Johns (born 1930) In Heilbrunn Timeline of Art History". The Metropolitan Museum of Art . Retrieved May 2, 2021.
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36. ^ Diggory (2013).
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40. ^ Six painters and the object. Lawrence Alloway [curator, conceived and prepared this exhibition and the catalogue] (Computer file). 2009-07-24. OCLC 360205683.
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42. ^ Pop Artists: Andy Warhol, Pop Art, Roy Lichtenstein, Jasper Johns, Peter Max, Erró, David Hockney, Wally Hedrick, Michael Leavitt (May xx, 2010) Reprinted: 2010, General Books, Memphis, Tennessee, U.s.a., ISBN 978-1-155-48349-viii, ISBN 1-155-48349-9.
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45. ^ ^{a b} Kerstin Stremmel, Realism, Taschen, 2004, p. 13. ISBN 3-8228-2942-0
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47. ^ sixty/90. Trente ans de Nouveau Réalisme, La Différence, 1990, p. 76
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56. ^ [1] Archived Nov 1, 2012, at the Wayback Machine
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61. ^ [2] Archived June vii, 2013, at the Wayback Machine

Further reading [edit]

• Bloch, Mark. The Brooklyn Rails. "Gutai: 1953 –1959", June 2018.
• Diggory, Terence (2013) Encyclopedia of the New York School Poets (Facts on File Library of American Literature). ISBN 978-1-4381-4066-7
• Francis, Mark and Foster, Hal (2010) Pop. London and New York: Phaidon.
• Haskell, Barbara (1984) BLAM! The Explosion of Pop, Minimalism and Functioning 1958–1964. New York: W.West. Norton & Company, Inc. in clan with the Whitney Museum of American Fine art.
• Lifshitz, Mikhail, The Crunch of Ugliness: From Cubism to Popular-Art. Translated and with an Introduction past David Riff. Leiden: BRILL, 2018 (originally published in Russian by Iskusstvo, 1968).
• Lippard, Lucy R. (1966) Pop Art, with contributions by Lawrence Alloway, Nancy Marmer, Nicolas Calas, Frederick A. Praeger, New York.
• Selz, Peter (moderator); Ashton, Dore; Geldzahler, Henry; Kramer, Hilton; Kunitz, Stanley and Steinberg, Leo (April 1963) "A symposium on Pop Art" Arts Magazine, pp. 36–45. Transcript of symposium held at the Museum of Modern Fine art on December 13, 1962.

External links [edit]

Wikimedia Commons has media related to Pop fine art.

Wikiquote has quotations related to: Popular art

• Popular Fine art: A Brief History, MoMA Learning
• Pop Art in Modernistic and Contemporary Art, The Met
• Brooklyn Museum Exhibitions: Seductive Subversion: Women Pop Artists, 1958–1968, October. 2010-January. 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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