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The Rise Of Pop Art
Pop art influence on society
Pop art influence on society
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Pop art is an art movement based on modern culture. It became popular in the mid- 1950s although it has been explored in different countries at different times. Some visual characters of pop art include: Repetition, commercial design, bright/vibrant primary colours, and ordinary objects made extraordinary. Pop are is usally based on food, super hero’s and house hold items tat are displayed using art mediums. Pop art was used to bridge the gap between the high and low act culture and was first know for being weird or strange. Artist Roy Lichtenstein was born in New York City in 1923. As a young boy Lichtenstein had a passion for science and comic books. In his mid- teens he found interest in art. He often took art classes as a teen and in …show more content…
the 1940’s he exhibited his art nationwide. Some common features of his art include: Ben Day dot, bold colours (Red, Yellow, Blues, Whites & Blacks), Bold outlines, speech bubbles and words/quotes. Lichtenstein became famous for his use of a wide variety of art mediums. When he first released his art work the public though of it as weird or strange as it didn’t fit into the art movement of that time and also that it had no emotion. Roy Lichtenstein created Whaam! in 1963. Whaam! Was a 170cm X 400cm long linear diptych and was painted using Manga acrylic and oil on canvas. On the left of the canvas there is a American fighting plane that is traveling towards another plane that is blowing up with red and yellow flames around it. Whaam!
Uses a wide variety of primary colours including red, blue, yellow, white and black with the bend day dot technique to create and illusion of other colours in the painting. An example of this is on the plane when Lichtenstein uses reds and blues to create a grey effect. Lichtenstein also uses a black outline around most objects in the artwork including the plane, explosion, smoke and fire. Whaam! uses both Geometric and organic shapes. The primary shapes are shown in the fire and smoke. The primary shapes are lively, erratic, flickering, random and explosive. The geometric shapes are used in the plane to show that it is man made and also on the star symbol. They are both sharp and smooth. The composition of the artwork is symmetrical and the artwork is evenly balanced on both sides. The most prominent contrast of the artwork is the black and white and these colours are also used to outline the shapes. The last principle is the movement and rhythm, the missile is used to show direction of line and the flame appears like its flickering and dancing die to the irregular shape and variation of colour. Comics inspired Lichtenstein; the most prominent comic is US Comic DC ‘All American men of war’. He was also inspired by melodrama and clichéd gender roles. I believe the meaning of the artwork was to show how us mend are expected to behave in society during the 1950’s to 1960’s. They are expected to be patriotic and brave. I believe this as ‘All American men of war’ and also
how the word ‘whaam’ is placed inspired Lichtenstein I believe the artwork was successful at displaying how men should act, as the plane is not flying away from the explosion and it shows that they have no fear. The use of red, yellows and blues show what society may view as manly colours.
Gallery 19 of the Museum of Modern Art features Pop Art trailblazers of the early 1960s, ranging from Roy Lichtenstein’s “Girl with Ball” to Andy Warhol’s “Gold Marilyn Monroe.” Alongside these emblematic works of art, there hangs a more simplistic piece: a six foot square canvas with three yellow letters, entitled “OOF.” The work of art, created by Ed Ruscha in 1962, is a painting that leaves little room for subjective interpretation as does the majority of his work. Ruscha represented the culture in the 1960s through his contributions to the transition from Abstract Expressionism to Pop Art, efforts to redefine what it meant for a painting to be fine art, and interpretation of the Space Race.
Pop Art was a Modern art movement that emerged durring the mid-twentieth century in both England and America. It first began to gain recognition in the early 1950’s, after about twenty years of Abstract, as artists altered their attention and looked to change. In the late 1950’s and early 1960’s, Pop Art became much more popular to the general public and successful for the movement’s artists due to the world growing tired of the repeditive forms of Abstract. Found in the Menil Collection, Seated Woman and Lavender Disaster are two examples of Pop Art. The comparison of these two pieces shows although they differ in medium and subject matter both Seated Woman and Lavender Disaster share common underlying themes possesed by all Pop Art.
“Painting is a way to examine the world in ways denied me by the United States justice system, a way to travel beyond the walls and bars of the penitentiary. Through my paints I can be with my People—in touch with my culture, tradition, and spirit. I can watch little children in regalia, dancing and smiling; see my elders in prayer; behold the intense glow in a warrior’s eye. As I work the canvas, I am a free man.” – Leonard Peltier
Thomas Hart Benton was born in the familiar, small town of Neosho, Missouri. He was named after his granduncle, the famed and prominent pre-American Civil War senator. First Thomas Hart Benton studied at the Art Institute of Chicago and then lived in beautiful Paris for three years. When he came back he moved to New York City after 1912 he turned away from his usual style, modernism, and gradually developed a rugged naturalism that affirmed traditional rural values. By the 1930’s Benton was riding a tide of popular acclaim along with his fellow regionalist Grant Wood, who was responsible for American Gothic, and John Steuart Curry, who was responsible for The Tragic Prelude. The mural, America Today (1930-1931, The Equitable Life Assurance Society of the U.S., New York City), Thomas Hart Benton’s masterpiece, presented an optimistic portrayal of a vital country filled with earthy, muscular figures.
The arts often shed light on a nation’s esprit de corps. If an artist’s work reflects the emotion of the consumer, the work will be more attractive and connective. Artists may also personally believe in the ideas presented by their work, rather than catering to an audience. For example, Ludwig Meidner was a painter in pre-WWI Germany who painted serene pieces early in his career as technological advancements were aimed to improve the quality of life of the citizen. However, as Germany became intertwined in alliances and war seemed inevitable, Meider’s paintings became increasingly apocalyptic. His work reflected the stress of the people and the fear of impending doom. Generally, the American people did not approve of the government’s actions
Roy Liechtenstein, (fig 1) was born in 1923 into to a middle class Hungarian family living in New York, there was no artists on either side of his family and throughout Liechtenstein’s schooling there were no art classes. He used to paint in oils and draw, sometimes sketching musicians he saw playing in Harlem and the Apollo Theatre as a hobby. It was not until ‘1939’ the summer of his last year at high school that he enrolled in art classes in the Art Students League run by a man called Reginald Marsh. Liechtenstein’s influences regarding his painting style at this time had been the European avant-garde artists such as Picasso. These cubist and expressionist styles were rejected buy by Marsh who favoured painting the masses of New York life such as carnival scenes, boxing matches and the subways catching the detail in fleeting brush strokes, in a non-academic easily recognisable way. This style of recognisable American art that used everyday scenes are directly related to the consumer orientated Pop Art that Liechtenstein was to develop later in his life.
Visually, both Wassily Kandinsky’s Composition VII and Jackson Pollock’s No. 2 constitute a chaotic arrangement of colors and images with no apparent relation to one another. The randomly scattered paint, large canvas, and over-clamped figures all build a similar visual chaos in both paintings. Despite the mayhem, the two paintings differ in the inner emotions each artist wanted to express and the nature of the “chaos.” While for Kandinsky the chaos represents the smooth and melodic sentiments raised by music, for Pollock the chaos depicts the more spontaneous and impulsive emotions. The authors’ differing goals lead Kandinsky to ponder and refine his painting to capture a more universal theme and Pollock to develop his “drip” painting method
This painting was symbolic politically and artistically because the artist wanted the painting to give an emotion of inspiration towards the African American culture because they want to embrace the different thoughts and ideas. In addition, different types of artworks have different types of meaning to it because it’s what the artist wanted to express towards everyone.
The definition of pop culture is a combination of books, music, and other daily activities that make up the identity of a society. One aspect of pop culture in the 60s was what people chose to wear. Clothing in the 1960s defied all traditional views of fashion. This decade broke out of the
Black smoke stained the sky and scarlet blood darkened the earth, as global war, once again, ravaged twentieth-century society. The repercussions of the Second World War rippled across the Atlantic and spread like an infectious disease. As the morality of humankind appeared to dissipate with each exploding bomb, anxiety, frustration, and hopelessness riddled the American public and began to spill into the art of New York City’s avant-garde (Paul par. 4). By the mid-1940s, artists reeling from the unparalleled violence, brutality, and destruction of war found a shared “vision and purpose” in a new artistic movement: Abstract Expressionism (Chave 3). Critics considered the most prominent artists of the movement to comprise the New York School
...he American Civil War. No matter what, the pictures of war that I’ve seen all have the same sad, hopeless, and tired expression of the soldiers that have fought that I think the painter was trying to show. This expression that has been like boulders on the shoulders of the soldiers won’t just go away, but I see it outside of the war as well; the wars of everyday life. It’s almost as if these warriors’ heavy hearts were so heavy that it physically weighed their bodies down to a shrug. I think that John Singer Sargent wasn’t sent to France to just capture the aftermath of World War I, but to capture the feeling that people have after their own wars. I think this heavy hearted and sorrow feeling that is expressed in this picture wasn’t just painted for this particular war, but to represent the wars people like us, the soldiers, fight in everyday life in our own war.
Born in July of 1882 in New York, Hopper grew up interested in art and encouraged by his parents. After attending both the Correspondence School of Illustrating in New York City and the New York School of Art, Hopper experienced a shift in interest from illustrations to the fine arts1. While studying with the impressionist artist William Merritt Chase and the realistic painter Rober...
The basic style of the music is pop and world. Pop music, also known as popular music, is “professional music which draws upon both folk music and fine arts music.” This means that pop music is a variety of sources including classical, jazz, rock, and fine arts music which
Lichtenstein’s mixture of styles can be seen in his works, ‘The Couple’ (1980) and ‘Blonde’ (1978), which together reflect how Lichtenstein worked within Surrealism, Futurism, Cubism and Expressionism. This mix of art styles, alongside Lichtenstein’s use of the primary colours, Benday dots and bold outlines, led to him becoming a major figure within the Pop Art movement. It wasn’t common for an artist to work within so many styles, adding to Lichtenstein’s innovative nature as an artist. Curator Harry Cooper said that Liechtenstein used innovative techniques, materials and forms to bring Pop Art into the realm of design and into a larger culture, and proved that Pop art “wasn’t just a gimmick, (or) just a
The pop art movement is an artistic movement that began in the mid 1950s to early 1970s, reaching its peak in the 1960s. Pop art began in New York by artists Andy Warhol, Roy Lichtenstein, James Rosenquist, and Claes Oldenburg.