In 1957 British Artist Richard Hamilton Identified Several Characteristics of Pop Art Including
Fine art Move: Pop Art
"The Popular artists did images that anybody walking down Broadway could recognize in a split second – comics, picnic tables, men's trousers, celebrities, shower curtains, refrigerators, Coke bottles – all the great modern things that the Abstract Expressionists tried so hard non to notice at all."
Andy Warhol
Popular Art definition: what is Pop Art?
The first definition of Pop Art was provided by British curator Lawrence Alloway, who invented the term 'Pop Art' in 1955 to describe a new form of art characterised by the imagery of consumerism, new media, and mass reproduction; in 1 word: popular culture. Through bold, simple, everyday imagery, and vibrant block colours, Pop Fine art was one of the first art movements to narrow the split up between commercial and fine arts.
Pop Art artists took inspiration from advertising, lurid magazines, billboards, movies, tv set, comic strips, and shop windows for their humorous, witty and ironic works, which both can exist seen as a commemoration and a critique of popular culture. But how did Pop Fine art emerge, who were the fundamental players, and what were their creative aims?
Key dates:1955-1965
Central regions: Britain and USA
Key words:Pop civilization, mass media, consumerism
Key artists:Andy Warhol, Roy Lochtenstein, Robert Rauschenberg, Claes Oldenburg, Richard Hamilton, David Hockney
Origins of Pop Art
Although generally associated with the United States, Pop Art found an early on voice in Britain as a disquisitional and ironic reflection on the post-War consumer civilisation of the late 1950s.
In 1952 Britain, in fact, a grouping of artists, writers, and critics which would come up to be known as 'Independent Group' – or but 'IG' – began to meet regularly, driven by a mutual perception of a gap between the art and life of the time to talk over new theories and methods to incorporate in the artistic exercise those aspects of visual culture that weren't traditionally part of information technology only that had inevitably get elements of the everyday life, from product packaging to cinema celebrities.
The grouping'southward collective exhibition This Is Tomorrow, held at the Whitechapel Gallery in London in 1956, served as the primal starting point for Pop Art, providing an unprecedented example of integration between art and modern life.
Parallel of Life and Art
Overseas, in those same years Popular Art emerged as a reaction against the dominant artistic motility, Abstract Expressionism. Buckling the thought that art is the private expression of an artist'southward genius, Popular Art allowed artists to reintroduce fragments of reality into art through images and combinations of everyday objects.
Jasper Johns and Robert Rauschenberg were among the first artists in America to capture the ability of the ordinary, boot-starting the movement. The former explored the boundaries between art and the everyday world literally incorporating commonplace objects into painted canvas surfaces; the latter represented what he defined every bit "things the mind already knows", a selection of recurring concepts and popular imagery.
Primal ideas backside Pop Art
It was English Popular Creative person Richard Hamilton who, in 1957, listed the characteristics of Pop Art, "Pop Art is: Popular (designed for a mass audience), Transient (short-term solution), Expendable (easily forgotten), Low cost, Mass produced, Young (aimed at youth), Witty, Sexy, Gimmicky, Glamorous, Big business organisation."
Pop Art, made of the aesthetic of the banal his signature, mirroring the times of mass-production and quick, banal amusement, while also investigating the commodification of fame. Everyday objects like Campbell's soup cans and pop culture celebrities like Marilyn Monroe were transformed into art and became icons of the movement.
The elements of multiplicity and reproduction – typical of mass-production culture – also reflected in artistic media and processes: while acrylic paints immune artists to create bright, flat surfaces, the screen-printing technique produced boldly coloured images equally repeated patterns subverting the thought of painting as a medium of originality.
British Popular Art v.s. American Pop Art
Although British Pop Art was greatly inspired by American popular civilisation, information technology was a rather playful and ironic exploration of what American popular imagery represented and how information technology manipulated people'southward lives and lifestyles.
To American artists, on the other manus, Popular Fine art meant a render to representation: hard edges, clear forms and recognisable subject matter now reigned, contrasting with the loose abstraction and symbolism of the Abstruse Expressionists.
Heavily influenced past commercial art practice, these artists were taking inspiration from what they saw and experienced directly. Non surprisingly, many had started their careers in commercial art. Andy Warhol was a magazine illustrator and graphic designer, Ed Ruscha was a graphic designer, and James Rosenquist started out as a billboard painter. Their backgrounds provided them with an excellent visual vocabulary of mass culture also equally the technical skills to jump effortlessly betwixt high art and popular culture and to merge the two worlds.
Famous Pop Fine art artists
Leading British Pop Fine art artists included Sir Peter Blake (b. 1932), Patrick Caulfield (1936-2006), Richard Hamilton (b. 1922), David Hockney (b. 1937), and Allen Jones (b. 1937).
In American art, famous exponents of Pop Art included Robert Rauschenberg (1925-2008), Jasper Johns (b. 1930), Roy Lichtenstein (1923-97) and Andy Warhol (1928-87). Other American exponents included Jim Dine (b. 1935), Robert Indiana (aka John Clark) (b. 1928), Ray Johnson (1927-95), Alex Katz (b. 1927), Claes Oldenburg (b. 1929), Ed Ruscha (b. 1937), James Rosenquist (b. 1933-2017), and Tom Wesselmann (b. 1931).
Iconic works of Popular Art
Richard Hamilton,Simply What Is Information technology That Makes Today'due south Homes And then Dissimilar, So Appealing?, 1956
Richard Hamilton's collage presents a living room infinite filled with objects and ideas that, co-ordinate to Hamilton, were crowding into the mail service-war consciousness. Drawing the viewer'due south attending is the figure of a body-architect holding a giant lollipop with the discussion 'Popular' scrawled on information technology. Not surprisingly, then, this collage is ofttimes referred to every bit the first case of Popular Art.
Andy Warhol,Marilyn Diptych, 1962
Warhol's fascination with popular culture and fame led him to produce a not bad number of screen-prints depicting portraits of celebrities, experimenting with variations in colours and multiplication.
His Marilyn Diptych contains 50 images of Marilyn Monroe, half of which are painted in colour, the other half in blackness-and-white. The piece of work was completed in the weeks following the extra's expiry.
Roy Lichtenstein,Whaam!, 1963
Roy Lichtenstein'southWhaam! is a big, 2-canvas painting composed like a comic book strip of a rocket explosion in the sky. Lichtenstein was interested in portraying highly charged situations in this particularly detached, calculated manner.
Keith Haring,Radiant Infant, 1982
In 1980s New York, Keith Haring turned the subway into his studio. Using chalk, he etched his signature designs onto the walls. I of these was hisRadiant Babe, which to him was ane of the purest and most positive human experiences. Information technology became a recurring visual idiom of Haring's throughout the years and is now considered the artist's signature tag.
Robert Indiana,LOVE, 1967
Born Robert Clark in Indiana, Robert Indiana took his native state's name when he moved to New York in 1954. This blazon of Popular-inspired fascination for the power of ordinary words was never more articulate than in hisLOVEartworks. Indiana'sLOVEis one of the most well-known images of Pop Art. It was originally conceived as a Christmas card for The Museum of Modern Art in 1965. Since then,Love has taken the shape of prints, paintings, sculptures, banners, rings, tapestries, and stamps.
Reception by the critics versus the public
While many academics and critics were appalled by the pop artists' use of mundane subject matter and past their evidently indiscriminate employment of information technology, Pop Art'due south more than figurative and down-to-earth imagery appealed to the general public and would presently go 1 of the near popular styles of art besides as one of the first manifestations of postmodernism.
Collecting Pop Art
Pop Fine art succeeded in getting through to the general public in a mode that few modernistic art movements did – or have done since – and art collectors like it, as well. For case, the painting "False Outset" (1959) Past Jasper Johns sold in 2006, for $80 one thousand thousand: the 9th most expensive work of art in history at that time. The work "Greenish Motorcar Crash" (1963) (synthetic polymer, silkscreen ink and acrylic on linen) past Andy Warhol sold at Christie's, New York, in 2007, for $71.seven meg, making it the 14th highest-priced piece of work of fine art e'er sold at that time. Not bad for a work of low-forehead art.
Relevant sources to learn more than
Read more than about Fine art Movements and Styles Throughout History
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Source: https://magazine.artland.com/art-movement-pop-art/
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