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1 Represented a Challenge to Traditions of Fine Art by Including Imagery From Pop Culture

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Art movement

An image of a sexy woman smiles as a revolver aimed at her head goes "Pop!"

A plain-looking box with the Campbell's label sits on the ground.

Pop art is an fine art movement that emerged in the Great britain and the Us during the mid- to late-1950s.[ane] [2] The movement presented a challenge to traditions of art by including imagery from pop and mass culture, such as advertising, comic books and mundane mass-produced objects. One of its aims is to use images of popular (as opposed to elitist) culture in art, emphasizing the bland or kitschy elements of any culture, most ofttimes through the use of irony.[iii] It is also associated with the artists' use of mechanical means of reproduction or rendering techniques. In pop art, material is sometimes visually removed from its known context, isolated, or combined with unrelated material.[two] [3]

Amid the early artists that shaped the popular art movement were Eduardo Paolozzi and Richard Hamilton in Britain, and Larry Rivers, Ray Johnson. Robert Rauschenberg and Jasper Johns amongst others in the The states. Pop art is widely interpreted as a reaction to the and so-dominant ideas of abstruse expressionism, also as an expansion of those ideas.[four] Due to its utilization of found objects and images, it is similar to Dada. Pop art and minimalism are considered to be fine art movements that precede postmodern art, or are some of the earliest examples of postmodern art themselves.[5]

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

Origins [edit]

The origins of pop art in North America developed differently from Great Britain.[3] In the U.s., popular fine 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 abstruse expressionism.[4] [half dozen] In the U.S., some artwork by Larry Rivers, Alex Katz and Man Ray anticipated popular art.[7]

By contrast, the origins of popular fine art in mail-State of war United kingdom, while employing irony and parody, were more academic. Britain focused on the dynamic and paradoxical imagery of American popular culture as powerful, manipulative symbolic devices that were affecting whole patterns of life, while simultaneously improving the prosperity of a lodge.[6] Early popular fine art in Britain was a affair of ideas fueled by American pop culture when viewed from afar.[4] Similarly, pop art was both an extension and a repudiation of Dadaism.[four] While pop fine art and Dadaism explored some of the same subjects, pop art replaced the subversive, satirical, and anarchic impulses of the Dada motion with a detached affidavit of the artifacts of mass civilisation.[4] Among those artists in Europe seen as producing work leading up to pop 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 movement; in addition there were some earlier American proto-popular origins which utilized "as found" cultural objects.[four] During the 1920s, American artists Patrick Henry Bruce, Gerald Murphy, Charles Demuth and Stuart Davis created paintings that contained popular civilisation imagery (mundane objects culled from American commercial products and advertizement design), about "prefiguring" the popular art movement.[8] [ix]

Uk: the Contained Group [edit]

A collage of many different styles shows a mostly naked man and woman in a house.

The Independent Grouping (IG), founded in London in 1952, is regarded as the precursor to the pop art movement.[2] [10] They were a gathering of young painters, sculptors, architects, writers and critics who were challenging prevailing modernist approaches to culture equally well as traditional views of fine art. Their grouping discussions centered on pop civilization implications from elements such as mass advertizing, movies, product design, comic strips, science fiction and engineering. 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 "found objects" such equally advertising, comic book characters, mag covers and various mass-produced graphics generally represented American popular culture. I of the collages in that presentation was Paolozzi'due south I was a Rich Man's Plaything (1947), which includes the first use of the word "pop", appearing in a cloud of fume emerging from a revolver.[ii] [xi] Following Paolozzi's seminal presentation in 1952, the IG focused primarily on the imagery of American popular culture, specially mass advertisement.[half-dozen]

Co-ordinate to the son of John McHale, the term "pop art" was outset coined past his father in 1954 in chat with Frank Cordell,[12] although other sources credit its origin to British critic Lawrence Alloway.[13] [xiv] (Both versions agree that the term was used in Independent Group discussions by mid-1955.)

"Pop art" as a moniker was and so used in discussions past IG members in the Second Session of the IG in 1955, and the specific term "popular fine art" first appeared in published print in the article "But Today Nosotros Collect Ads" past IG members Alison and Peter Smithson in Ark magazine in 1956.[xv] All the same, 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 information technology so is not what it ways at present. I used the term, and likewise 'Popular Civilisation' to refer to the products of the mass media, not to works of fine art that describe upon popular culture. In any instance, sometime between the winter of 1954–55 and 1957 the phrase acquired currency in conversation..."[17] Nevertheless, Alloway was i 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 time Pop Fine art had already transited from art schools and small galleries to a major force in the artworld. Just its success had not been in England. Practically simultaneously, and independently, New York City had become the hotbed for Pop Art.[17]

In London, the annual Royal 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 tree, Allen Jones, Derek Boshier, Joe Tilson, Patrick Caulfield, Peter Phillips, Pauline Boty and Peter Blake on the map; Apple designed the posters and invitations for both the 1961 and 1962 Immature Contemporaries exhibitions.[18] Hockney, Kitaj and Blake went on to win prizes at the John-Moores-Exhibition in Liverpool in the same year. Apple and Hockney traveled together to New York during the Royal Higher's 1961 summertime break, which is when Apple first made contact with Andy Warhol – both subsequently moved to the U.s.a. and Apple tree became involved with the New York popular art scene.[xviii]

Usa [edit]

Although popular art began in the early 1950s, in America it was given its greatest impetus during the 1960s. The term "pop art" was officially introduced in December 1962; the occasion was a "Symposium on Pop Art" organized past the Museum of Mod Art.[19] Past this time, 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 art from the well-designed and clever commercial materials.[6] As the British viewed American popular civilisation 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 diverseness of mass-produced imagery, produced work that was generally more than bold and aggressive.[x]

A woman's crying face is overwhelmed by waves as she thinks, "I don't care! I'd rather sink than call Brad for help!"

Co-ordinate to historian, curator and critic Henry Geldzahler, "Ray Johnson'southward collages Elvis Presley No. 1 and James Dean stand as the Plymouth Rock of the Pop motility."[20] Author Lucy Lippard wrote that "The Elvis ... and Marilyn Monroe [collages] ... heralded Warholian Popular."[21] Johnson worked every bit 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 advertisement his blueprint services printed via start lithography. He later on became known as the father of mail service art as the founder of his "New York Correspondence Schoolhouse," working pocket-size by stuffing clippings and drawings into envelopes rather than working larger like his contemporaries.[22] A annotation about the cover image in January 1958's Fine art News pointed out that "[Jasper] Johns' outset one-human being show ... places him with such better-known colleagues as Rauschenberg, Twombly, Kaprow and Ray Johnson".[23]

Indeed, ii other important artists in the institution of America's pop fine art vocabulary were the painters Jasper Johns and Robert Rauschenberg.[10] Rauschenberg, who like Ray Johnson attended Black Mount College in North Carolina after World State of war II, 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 time.[24] His apply of discarded readymade objects (in his Combines) and popular civilization imagery (in his silkscreen paintings) continued his works to topical events in everyday America.[ten] [25] [26] The silkscreen paintings of 1962–64 combined expressive brushwork with silkscreened mag clippings from Life, Newsweek, and National Geographic. Johns' paintings of flags, targets, numbers, and maps of the U.South. also 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 art which exploded in the early 1960s.[28] [29]

Roy Lichtenstein is of equal importance to American popular art. His work, and its utilise of parody, probably defines the basic premise of pop art amend than whatsoever other.[x] Selecting the old-fashioned comic strip as subject matter, Lichtenstein produces a hard-edged, precise composition that documents while also parodying in a soft manner. Lichtenstein used oil and Magna paint in his best known works, such equally Drowning Girl (1963), which was appropriated from the pb story in DC Comics' Secret Hearts #83. (Drowning Girl is part of the drove of the Museum of Modernistic Art.)[30] His piece of work features thick outlines, assuming colors and Ben-Twenty-four hour period dots to represent sure colors, as if created by photographic reproduction. Lichtenstein said, "[abstract expressionists] put things down on the canvass and responded to what they had done, to the color positions and sizes. My manner looks completely different, but the nature of putting downwards lines pretty much is the aforementioned; mine merely don't come up out looking calligraphic, like Pollock'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 direct attachment to the commonplace image of American popular civilisation, but besides treat the bailiwick in an impersonal manner conspicuously illustrating the idealization of mass production.[10]

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

Early U.Southward. exhibitions [edit]

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

Claes Oldenburg, Jim Dine and Tom Wesselmann had their beginning 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 Dark-green Gallery on 57th Street in Manhattan. In 1960, Martha Jackson showed installations and assemblages, New Media – New Forms featured Hans Arp, Kurt Schwitters, Jasper Johns, Claes Oldenburg, Robert Rauschenberg, Jim Dine and May Wilson. 1961 was the year of Martha Jackson's spring show, Environments, Situations, Spaces.[34] [35] Andy Warhol held his first solo exhibition in Los Angeles in July 1962 at Irving Blum'south Ferus Gallery, where he showed 32 paintings of Campell's soup cans, 1 for every flavor. Warhol sold the gear up of paintings to Blum for $one,000; in 1996, when the Museum of Modernistic 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 advanced literary magazine Nomad, wrote an essay in the magazine's final issue, Nomad/New York. The essay was one of the first on what would become known as popular fine art, though Factor did not use the term. The essay, "Four Artists", focused on Roy Lichtenstein, James Rosenquist, Jim Dine, and Claes Oldenburg.[36]

In the 1960s, Oldenburg, who became associated with the pop art movement, created many happenings, which were performance fine art-related productions of that time. The name he gave to his own productions was "Ray Gun Theater". The cast of colleagues in his performances included: artists Lucas Samaras, Tom Wesselmann, Carolee Schneemann, Öyvind Fahlström and Richard Artschwager; dealer Annina Nosei; art critic Barbara Rose; and screenwriter Rudy Wurlitzer.[37] His first married woman, Patty Mucha, who sewed many of his early soft sculptures, was a constant performer in his happenings. This brash, often humorous, arroyo to fine art was at great odds with the prevailing sensibility that, by its nature, fine art dealt with "profound" expressions or ideas. In December 1961, he rented a shop on Manhattan's Lower Due east Side to house The Shop, 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 popular art. The fifty-four artists shown included Richard Lindner, Wayne Thiebaud, Roy Lichtenstein (and his painting Blam), Andy Warhol, Claes Oldenburg, James Rosenquist, Jim Dine, Robert Indiana, Tom Wesselmann, George Segal, Peter Phillips, Peter Blake (The 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 look of the American artwork. As well shown were Marisol, Mario Schifano, Enrico Baj and Öyvind Fahlström. Janis lost some of his abstract expressionist artists when Marker Rothko, Robert Motherwell, Adolph Gottlieb and Philip Guston quit the gallery, only 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 past Tremaine, who ironically owned 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 abroad a respected abstract creative person proved that, as early equally 1962, the pop art movement had begun to dominate fine art civilisation in New York.

A bit 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 City; and Wayne Thiebaud from California were included in the New Painting of Common Objects testify. This start pop fine art museum exhibition in America was curated by Walter Hopps at the Pasadena Art Museum.[39] Pop fine 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.[xl] Another pivotal early exhibition was The American Supermarket organised by the Bianchini Gallery in 1964. The prove was presented as a typical small-scale supermarket surround, except that everything in it—the produce, canned goods, meat, posters on the wall, etc.—was created by prominent pop artists of the time, including Apple tree, Warhol, Lichtenstein, Wesselmann, Oldenburg, and Johns. This project was recreated in 2002 as part of the Tate Gallery's Shopping: A Century of Fine 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 commencement commercial one-homo bear witness. 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 first New York testify). The Leo Castelli Gallery presented Rauschenberg, Johns, and Lichtenstein. Martha Jackson showed Jim Dine and Allen Stone showed Wayne Thiebaud. Past 1966, after the Dark-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 Rock continued to represent Thiebaud, and Martha Jackson continued representing Robert Indiana.[42]

In 1968, the São Paulo 9 Exhibition – Environment United states of americaA.: 1957–1967 featured the "Who'due south Who" of popular art. Considered as a summation of the classical phase of the American pop fine art flow, 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 art critic Pierre Restany[44] and the creative person 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 Proclamation of New Realism," in April 1960, proclaiming, "Nouveau Réalisme—new ways of perceiving the real."[45] This joint annunciation was signed on 27 October 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, and then 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 every bit its transposition in French republic—new realism was along with Fluxus and other groups i of the numerous tendencies of the avant-garde in the 1960s. The grouping initially chose Overnice, on the French Riviera, every bit its home base since Klein and Arman both originated there; new realism is thus often retrospectively considered past historians to exist an early representative of the École de Squeamish [fr] motility.[46] In spite of the diversity of their plastic language, they perceived a mutual basis for their work; this existence a method of directly cribbing of reality, equivalent, in the terms used past Restany; to a "poetic recycling of urban, industrial and advertising reality".[47]

Spain [edit]

In Kingdom of spain, the study of pop fine art is associated with the "new figurative", which arose from the roots of the crisis of informalism. Eduardo Arroyo could be said to fit within the pop art tendency, on account of his interest in the environs, his critique of our media culture which incorporates icons of both mass media communication and the history of painting, and his scorn for almost all established artistic styles. Even so, 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.

As well in the category of Castilian popular 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 every bit "popular" considering 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 low budget super 8 popular art movies, and he was subsequently called the Andy Warhol of Kingdom of spain by the media at the time. In the book Almodovar on Almodovar, he is quoted every bit saying that the 1950s moving picture "Funny Confront" was a central inspiration for his piece of work. One pop trademark in Almodovar'south films is that he always produces a imitation commercial to be inserted into a scene.

New Zealand [edit]

In New Zealand, pop fine art has predominately flourished since the 1990s, and is often connected to Kiwiana. Kiwiana is a pop-centered, idealised representation of classically Kiwi icons, such every bit meat pies, kiwifruit, tractors, jandals, Iv Square supermarkets; the inherent campness of this is oftentimes subverted to signify cultural messages.[48] Dick Frizzell is a famous New Zealand pop artist, known for using older Kiwiana symbols in means that parody modernistic culture. For case, Frizzell enjoys imitating the work of foreign artists, giving their works a unique New Zealand view or influence. This is washed to show New Zealand's historically subdued bear on on the world; naive art is connected to Aotearoan pop fine art this way.[49]

This can be also done in an annoying and deadpan way, every bit with Michel Tuffrey's famous work Pisupo Lua Afe (Corned Beef 2000). Of Samoan ancestry, Tuffery constructed the piece of work, which represents a balderdash, out of candy food cans known as pisupo. It is a unique work of western pop art considering Tuffrey includes themes of neocolonialism and racism against non-western cultures (signified by the nutrient cans the piece of work is made of, which represent economic dependence brought on Samoans by the due west). The undeniable ethnic viewpoint makes it stand out confronting more mutual non-indigenous works of pop art.[50] [51]

One of New Zealand'southward earliest and famous popular artists is Billy Apple, i of the few not-British members of the Majestic Guild 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 tree quickly became an iconic international creative person of the 1960s. This was before he conceived his moniker of 'Billy Apple tree", and his work was displayed nether his birth name of Barrie Bates. He sought to distinguish himself past appearance as well as name, and so bleached his pilus and eyebrows with Lady Clairol Instant Creme Whip. Later, Apple was associated with the 1970s Conceptual Art movement. [52]

Nihon [edit]

In Japan, popular art evolved from the nation'southward prominent avant-garde scene. The use of images of the modern earth, copied from magazines in the photomontage-style paintings produced by Harue Koga in the late 1920s and early 1930s, foreshadowed elements of pop art.[53] The Japanese Gutai motility led to a 1958 Gutai exhibition at Martha Jackson'due south New York gallery that preceded by two years her famous New Forms New Media show that put Popular 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 1 of the most successful pop artists and an international symbol for Japanese pop art. He is well known for his advertisements and creating artwork for pop culture icons such as commissions from The Beatles, Marilyn Monroe, and Elizabeth Taylor, amidst others.[57] Some other leading pop artist at that time was Keiichi Tanaami. Iconic characters from Japanese manga and anime have also become symbols for pop art, such every bit Speed Racer and Astro Boy. Japanese manga and anime too influenced later pop artists such as Takashi Murakami and his superflat movement.

Italy [edit]

In Italia, by 1964, pop art was known and took different forms, such as the "Scuola di Piazza del Popolo" in Rome, with popular artists such every bit Mario Schifano, Franco Angeli, Giosetta Fioroni, Tano Festa, Claudio Cintoli, and some artworks by Piero Manzoni, Lucio Del Pezzo, Mimmo Rotella and Valerio Adami.

Italian pop fine art originated in 1950s 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 abased their previous careers (which might be generically divers as belonging to a non-representational genre, despite beingness thoroughly post-Dadaist), to catapult themselves into a new globe of images, and the reflections on them, which was springing up all around them. Rotella'south torn posters showed an e'er more than figurative taste, often explicitly and deliberately referring to the not bad icons of the times. Baj'south compositions were steeped in gimmicky 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, tv, all the "new world", everything can belong to the world of art, which itself is new. In this respect, Italian pop art takes the same ideological path as that of the international scene. The but 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. Notwithstanding this is non an exclusive element; there is a long line of artists, including Gianni Ruffi, Roberto Barni, Silvio Pasotti, Umberto Bignardi, and Claudio Cintoli, who take on reality as a toy, as a smashing puddle 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 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, too as by other notable pop artists. Internationally recognized artists such every bit Marcel Broodthaers ( 'vous êtes doll? "), Evelyne Axell and Panamarenko are indebted to the pop art motion; Broodthaers's great influence was George Segal. Another well-known artist, Roger Raveel, mounted a birdcage with a real live pigeon in one of his paintings. By the end of the 1960s and early 1970s, pop art references disappeared from the work of some of these artists when they started to prefer a more critical attitude towards America considering of the Vietnam State of war'due south increasingly gruesome character. Panamarenko, withal, has retained the irony inherent in the pop art movement upward to the nowadays day. Evelyne Axell from Namur was a prolific pop-creative person in the 1964–1972 period. Axell was one of the showtime female pop artists, had been mentored past Magritte and her best-known painting is Water ice Cream.[59]

Netherlands [edit]

While there was no formal pop art movement in kingdom of the netherlands, in that location were a group of artists that spent time in New York during the early years of pop art, and drew inspiration from the international pop art movement. Representatives of Dutch popular fine art include Daan van Aureate, Gustave Asselbergs, Jacques Frenken, Jan Cremer, Wim T. Schippers, and Woody van Amen. They opposed the Dutch petit bourgeois mentality by creating humorous works with a serious undertone. Examples of this nature include Sex O'Clock, past Woody van Amen, and Crucifix / Target, by Jacques Frenken.[60]

Russian federation [edit]

Russia was a picayune late to become part of the pop fine art movement, and some of the artwork that resembles popular art but surfaced effectually the early on 1970s, when Russian federation was a communist land and assuming artistic statements were closely monitored. Russia's own version of pop fine art was Soviet-themed and was referred to equally Sots Art. Afterwards 1991, the Communist Political party lost its power, and with it came a freedom to express. Pop art in Russian federation took on another form, epitomised by Dmitri Vrubel with his painting titled My God, Aid Me to Survive This Deadly Love in 1990. Information technology might be argued that the Soviet posters made in the 1950s to promote the wealth of the nation were in itself a class 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 (born 1937)
  • Dorothy Iannone (built-in 1933)
  • Robert Indiana (1928–2018)
  • Jasper Johns (born 1930)
  • Ray Johnson (1927-1995)
  • Allen Jones (born 1937)
  • Alex Katz (built-in 1927)
  • Corita Kent (1918–1986)
  • Konrad Klapheck (built-in 1935)
  • Kiki Kogelnik (1935–1997)
  • Nicholas Krushenick (1929–1999)
  • Yayoi Kusama (born 1929)
  • Gerald Laing (1936–2011)
  • Roy Lichtenstein (1923–1997)
  • Richard Lindner (1901–1978)
  • John McHale (1922–1978)
  • Peter Max (born 1937)
  • Marta Minujin (born 1943)
  • Claes Oldenburg (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 Self (born 1941)
  • Marjorie Strider (1931–2014)
  • Elaine Sturtevant (1924-2014)
  • Wayne Thiebaud (born 1920)
  • Joe Tilson (built-in 1928)
  • Andy Warhol (1928–1987)
  • Idelle Weber (1932–2020)
  • John Wesley (born 1928)
  • Tom Wesselmann (1931–2004)

Run across also [edit]

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

References [edit]

  1. ^ Pop Fine art: A Brief History, MoMA Learning
  2. ^ a b c d e Livingstone, M., Pop Art: A Continuing History, New York: Harry N. Abrams, Inc., 1990
  3. ^ a b c de la Croix, H.; Tansey, R., Gardner's Art Through the Ages, New York: Harcourt Brace Jovanovich, Inc., 1980.
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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 978-1-4381-4066-7
  • Francis, Mark and Foster, Hal (2010) Pop. London and New York: Phaidon.
  • Haskell, Barbara (1984) BLAM! The Explosion of Pop, Minimalism and Performance 1958–1964. New York: Due west.W. Norton & Company, Inc. in association with the Whitney Museum of American Fine art.
  • Lifshitz, Mikhail, The Crisis of Ugliness: From Cubism to Pop-Fine art. Translated and with an Introduction by David Riff. Leiden: BRILL, 2018 (originally published in Russian by Iskusstvo, 1968).
  • Lippard, Lucy R. (1966) Pop Fine 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 Art on December 13, 1962.

External links [edit]

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

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