Roy Lichtenstein
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Pop Art Slides
Pop Art slides: Performance: Joseph Beuys (1921-1986) “thinking forms” How to Explain Pictures to a Dead Hare, Performance, (1965) Coyote: I Like America and America Likes Me (1974) Pop art: Richard Hamilton (1922- ) Just What is it that Makes Today’s Homes so Different, so Appealing? collage, 26x25cm (1956) Roy Lichtenstein (1923-1997) Takka, Takka, magna on canvas, 173x143 cm (1962) Maybe (1963) Blam, oil on canvas, 68”x80” (1962) Hopeless, oil on canvas, 3’8”x3’8” (1963) Drowning Girl, oil on canvas, 5’7”x5’6” (1963) Oh…. Alright, oil and magna on canvas, 91x97cm (1964) Still Life with Goldfish Bowl and painting of a Golf Ball, oil on canvas, 52”x42” (1972) Stretcher Frame revealed Beneath Painting of a Stretcher Frame, oil and magna on canvas, 91x116cm (1973) Yellow and Green Brushstrokes, oil and magna on canvas, 214x458 cm (1966) Robert Indiana (1928- ) The Big Eight, acrylic on canvas, 220x220 cm (1961) Mel Ramos (1935- ) Velveeta, oil on canvas, 152x178 cm (1965) Andy Warhol (1928-1987) Green Coca-Cola Bottles, oil on canvas, 6’10”x4’9” (1962) Marilyn Monroe, acrylic and silkscreen, 6’9”x5’6” (1962) Marilyn Diptych, oil, acrylic and silkscreen, 6’8”x4’9” (each panel) (1962) Campbell’s Soup Can 1, acrylic/silk screen, 92x61 cm (1962) 200 Campbell’s Soup Cans, oil on canvas, 6’x8’4” (1962) Liz Taylor, lithograph, 21x21” (1964) Environmental or Earth Art: Robert Smithson (1938-1973) Spiral Jetty, Salt Lake, Utah, 1500’x15’x3½‘ (1970) Christo and Jeanne-Claude (both b.1935, she d.2009)) – “Empaquetages” Wrapped Coast, Little Bay, Sydney Australia, one million sq.ft. -
Postmodern and Pop.Prs
Postmodern and Pop.prs From Modernism to Post-Modernism Abstract Expressionism: the art work becomes an environment; the presence of the artist is central as the artist "lives" in the process of making the art work minimalism: the art work enters the real world even as it maintains its Pop art: real life enters the art work; the art work enters real life difference; the art work challenges space and the spectator and denies the a confusion of reality and illusion/fantasy presence of inner content ImagePage 1 of 6 This image and the text corresponding to this image may only be used for noncommercial, educational, and scholarly purposes. Postmodern and Pop.prs A postmodern paradigm: Neo-Dada of the Sixties? art as a commitment to the unknowable or uncertainty inconstancy of form-->formlessness: The Pop Art confusion of boundaries of media, of real and unreal, Tendency of the original and the copy the disguised or fragmented human body Richard Hamilton: Just what is it E. Paolozzi: I Was a Rich Man's about today's homes that makes Plaything, 1947 them so appealing? (1956) Rosenquist: President Elect, 1960 (oil on fiberboard, 84 x 146") ImagePage 2 of 6 This image and the text corresponding to this image may only be used for noncommercial, educational, and scholarly purposes. Postmodern and Pop.prs Wesselmann: Still Life #20, 1962 (collage, assemblage, wood, bulb, sink, 46 x 48") Bathtub Collage #3, 1963 (84 x 106 x Still Life #31, 1963 (oil, collage, 20") working t.v., 48 x 60" Great American Nude #6, 1961 (48 x 48") Great American Nude #28, 1962 (48 x 66") Smoker #9, 1973 (83 x 89"; Robert Venturi and Denise Scott Brown: oil on canvas) Learning from Las Vegas, or is there such a thing as Pop Architecture? ImagePage 3 of 6 This image and the text corresponding to this image may only be used for noncommercial, educational, and scholarly purposes. -
Wallsjasper Johns and Roy Lichtenstein
WALLSJASPER JOHNS AND ROY LICHTENSTEIN 1 2 JASPER JOHNS AND ROY LICHTENSTEIN WALLSAPRIL 25 – JUNE 27 2014 CASTELLI Kenneth E. Silver WALLS: Johns, Lichtenstein, trompe l’oeil, and Art History Big abstract paintings turn out to be astonishingly easy to live with. Representational, illusionistic pictures of the same size, though presumably opening up the walls behind them, would eat up a lot more of the surrounding space; their contents have a way of coming forward as well as receding. Abstract painting, especially of the postwar American variety, tends to hold the wall more the way that Far Eastern painting does. Clement Greenberg, “A Famous Art Critic’s Collection,” Vogue (15 January 1964) In memory of Bob Rosenblum The spring before I began graduate school in art history, in 1973, I was more or less forced into a confrontation with Clement Greenberg. It took place at a party in painter Kenneth Noland’s huge loft building on the Bowery. Although I knew Ken Noland a bit through a mutual friend, Margo Greene, I had never met Greenberg. Ken and I, and one or two other people, as well as the esteemed critic, were standing in Ken’s bedroom, looking at a long horizontal stripe painting by him on the wall over the bed. “Hey Clem, did I tell you that Ken Silver’s a big Warhol fan,” Ken Noland asserted provocatively, knowing that this would ruffle his friend’s feathers and wanting to see how I would respond. “Oh yeah? You are? Tell me, then,” Greenberg asked me, “whom do you expect to care about Andy Warhol when everyone’s forgotten who Marilyn -
Artist Rooms Roy Lichtenstein in Focus Tate Liverpool
TATE LIVERPOOL ARTIST ROOMS 22 SEP – 17 JUN 2018 ROY LICHTENSTEIN IN FOCUS INTRODUCTION ARTIST ROOMS is owned by the National The pack is designed to support teachers and This display is free. For further details about Galleries of Scotland and Tate. The collection educators in planning a visit to the display with visiting Tate Liverpool with your group and is shared across the UK with Ferens Art Gallery, a collection of ideas, workshops and points for to book a visit online see: supported by the National Lottery through discussion. It is intended as a starting point that Arts Council England, Art Fund and by the will ‘trigger’ your own connections and creative www.tate.org.uk/learn/teachers/school-visits- National Lottery through Creative Scotland. ideas. The activities are suitable for all ages and tate-liverpool This free display at Tate Liverpool brings can be adapted to your needs before, during together over 20 works charting the career and after your visit. Email: [email protected] of Roy Lichtenstein (1923–1997) from his early interest in landscape to the iconic pop Call: +44 (0) 1517 027 400 paintings influenced by comic strips and advertising imagery. It includes Lichtenstein’s only work with the media of film, his triple- screen installation Three Landscapes made at Universal Studios in 1969. Cover: Reflections: Art 1988 © Estate of Roy Lichtenstein/DACS 2017 2 Roy Lichtenstein In Focus Teachers’ Pack CONTENTS ROY LICHTENSTEIN 4 ACTIVITIES 7 IN THE CAR 1963 8 ACTIVITIES 11 GLOSSARY 12 FURTHER RESOURCES 13 3 Roy Lichtenstein In Focus Teachers’ Pack ROY LICHTENSTEIN “It occurred to me one day to do something that Born in Manhattan in 1923 Roy Lichtenstein While teaching at the State University of New would appear to be just the same as a comic grew up in the West Side of New York City. -
METAXYUM Grouping-Moving-Spreading
METAXYUM Grouping-Moving-Spreading METAXYUM Grouping-Moving-Spreading On April 2018, Concept of Metaxyum Grouping - Moving - Spreading was presented for the first time to Arta Agani, Director of National Gallery of Kosovo 4 Content / Permbajtja FILOART Group 6 This is not an exhibition but the opposite of it!!!! 10 Press 56 FILOART Movement 68 Sammlerfamilie 70 Psychiatriepatienten 92 D.N.K. Dashuria Ndaj Katrorit 110 L.E.O. 128 Mrs.Brainwash 142 Globalodromia 158 U.R.A. 184 P.M.S. 202 The Activists 216 W.A.S. World Anonymous Society 218 Metaxyum 220 Metaxyum Grouping - Moving - Spreading 236 Appendix 244 Impressum 245 5 FILOART Group filo (Gr. φιλοζ ) love of, he who loves. filo (Gr. φιλοζ ) dashuria për, ai që e do. art (lat. ars) art filoart love of art, philosophy and art, love of art (lat ars) art filoart dashuria për art, filozofia dhe arti, dashuria knowledge, love of the unknown… për dijen, dashuria për të panjohurën... FILOART Group 1984-1989 FILOART Group 1984-1989 In the year 1984, a conglomerate of different groups built one Në vitin 1984, një konglomerat i grupeve të ndryshme ndërtoi group. The group was named FILOART. një grup. Grupi u emërua FILOART. The name of the FILOART group refers not only to the author Emri i grupit FILOART nuk i referohet vetëm autorit (grupit) që (the group), that makes the works, but also to the achievements i bën veprat, por edhe arritjet e të tjerëve dhe të gjitha kom- of others and all the components that make the existence of ponentet që e mundësojnë ekzistencën e veprave; si dhe për the works possible; and also to all the influences from previous gjitha ndikimet nga historia e mëhershme që kanë bërë që au- history, that have led the author (the group) to make the works. -
Stanford Auctioneers Fine Art, Pop Art, Photographs: Day 2 of 3 Saturday – May 5Th, 2018
Stanford Auctioneers Fine Art, Pop Art, Photographs: Day 2 of 3 Saturday – May 5th, 2018 www.stanfordauctioneers.com | [email protected] 634: MAX ERNST - Zu: Brusberg Dokumente 3 USD 1,000 - 1,200 Max Ernst (German, 1891 - 1976). "Zu: Brusberg Dokumente 3". Color lithograph. 1972. Signed in pencil, lower right. Cream wove Arches watermarked paper. Full margins. Fine impression. Fine condition. Literature/catalogue raisonne: Spies/Leppien 220I. Overall size: 12 15/16 x 9 1/8 in. (329 x 232 mm). Image size: 9 1/2 x 5 9/16 in. (241 x 141 mm). Image copyright © Artists Rights Society (ARS), New York. [27699-2-600] 635: EMIL FILLA - Zeny hlavu doprava (Woman's Head to the Right) USD 3,000 - 3,500 Emil Filla (Czech, 1882-1953). "Zeny hlavu doprava (Woman's Head to the Right)". Pencil drawing. 1934. Signed with the intials and dated, lower right. Light grey watermarked wove paper. Very good condition; a few fox marks; inscription verso which does not telegraph through to recto. Overall size: 10 5/8 x 8 1/2 in. (270 x 216 mm). A companion piece to the similar composition "Hlava zeny oprena o ruku." Filla was a leader of the avant-garde in Prague between World War I and World War II and was an early Cubist painter. Image copyright © The Estate of Emil Filla. [27715-2-2400] 636: KEITH HARING - Yellow Forms USD 800 - 900 Keith Haring (American, 1958 - 1990). "Yellow Forms [Untitled 1984]". Color offset lithograph. 1984. Printed 1985. Signed by Haring in black marker, lower right. -
Art of the Sixties and Seventies Minimalism
Art of the Sixties and Seventies Minimalism Minimalism originated in New York City in the 1950s and became a major trend in the 1960s and 70s. characterized by extreme simplicity of form as by the use of basic shapes and monochromatic palettes of primary colors, and rejection of emotional content. The minimalist work is set out to expose the essence, essentials or identity of a subject through eliminating all non-essential forms, features or concepts. The Minimalists believed that a work of art should be entirely self- referential; personal elements were stripped away to reveal the objective, purely visual elements. The intention of minimalist artists is to allow the audience to view a composition more intensely because the distractions of theme etc. have been removed. TONY SMITH, Die, 1962. Steel, 6’ x 6’ x 6’. Museum of Modern Art, New York DONALD JUDD, Untitled, 1969. Brass and colored fluorescent plexiglass on steel brackets, ten units, 6 1/8” x 2’ x 2’ 3” each, with 60 intervals. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington Marcel Duchamp, The Fountain, 1917 Kasimir Malevich Black Square on a White Ground (1914-1915) Oil on linen, 80x80cm Barnett Newman, Vir Heroicus Sublimis ("Man, heroic and sublime“), 1950–1951. Oil on canvas, 7’ 11 3/8” x 17’ 9 1/4”. Tony Smith, Die, 1962. Steel, 6’ x 6’ x 6’. MAYA YING LIN, Vietnam Veterans Memorial, Washington, D.C., 1981–1983. Black granite, each wing 246’ long. Aerial view of the Vietnam Veterans Memorial Maya Lin with a model of the Vietnam Veterans Memorial, 1980. -
Art 3 Final Exam Study Guide Name______Image Identification
Art 3 Final Exam Study Guide Name_______________________________________ Image Identification Title: The Gleaners Title: The Stonebreakers Artist: Jean Francois Millet Artist: Gustav Courbet Art Period: Realism Art Period: Realism Starry Night The Bedroom Table, Napkin and Fruit Vincent van Gogh Vincent van Gogh Paul Cezanne Post-Impressionism Post-Impressionism Post-Impressionism Tahitian Women on the Beach Sunday Afternoon on the Island of La Grand Jatte The Sleeping Gypsy Paul Gauguin Georges Seurat Henri Rousseau Post-Impressionism Post-Impressionism Post-Impressionism Ad Parnassum The Scream Street, Berlin Paul Klee Edvard Munch Ernst Ludwig Kirchner Expressionism Expressionism Expressionism Yellow Cow Composition VIII Franz Marc Wassily Kandinsky Expressionism Expressionism Factory, Horta de Ebbo Violin and Jug Weeping Woman Pablo Picasso Georges Braque Pablo Picasso Cubism Cubism Cubism The Son of Man The Persistence of Memory Metamorphosis of Narcissus Rene Magritte Salvador Dali Salvador Dali Surrealism Surrealism Surrealism The Red Tower Giorgio de Chirico Surrealism Campbell’s Soup Cans Twenty-five Colored Marilyns Queen Elizabeth II Andy Warhol Andy Warhol Andy Warhol Pop Art Pop Art Pop Art Drowning Girl Hopeless Varoom Roy Lichtenstein Roy Lichtenstein Roy Lichtenstein Pop Art Pop Art Pop Art Clothespin Flag Retroactive I Claes Oldenburg Jasper Johns Robert Rauschenberg Pop Art Pop Art Pop Art Characteristics of Post-Impressionism -symbolic personal images -abstract form -application of paint in organized pattern (Van Gogh/Seurat) Characteristics of Expressionism - Has emotional character - Drew inspiration from ‘primitive art’ - Was associated with Northern Europe 3 things that influenced Expressionism - Fauvism, African art, German Gothic art Expressionism is mostly associated with Germany. The TWO main groups of German Expressionism were Der Blaue Reiter (The Blue Rider) and Die Brucke (The Bridge) - Cubism focused on 2 main things: 1. -
ROY LICHTENSTEIN: Girls
G A G O S I A N G A L L E R Y April 23, 2008 PRESS RELEASE GAGOSIAN GALLERY 980 MADISON AVENUE T. 212.744.2313 NEW YORK NY 10021 F. 212.772.7962 GALLERY HOURS: Tue - Sat 10:00am - 6:00pm ROY LICHTENSTEIN: Girls Monday, May 12 – Saturday, June 28, 2008 “[The kind of girls I painted were] really made up of black lines and red dots. I see it that abstractly, that it's very hard to fall for one of these creatures, to me, because they're not really reality to me. However, that doesn't mean that I don't have a clichéd ideal, a fantasy ideal, of a woman that I would be interested in. But I think I have in mind what they should look like for other people.” Roy Lichtenstein Gagosian Gallery is pleased to present “Girls,” a seminal group of paintings by Roy Lichtenstein. In the summer of 1961 Lichtenstein embarked on a series of iconic images of women, taken directly from newspaper clippings and the romance comic books so prevalent in post-war America. The anonymity of the mass-produced, cheap comic book helped him to capture specific impressions of real things, while maintaining the necessary degree of aesthetic distance afforded by what he understood to be the “high restrictive quality of art.” He scrutinized his female subjects, editing and re-presenting the crux of their trials and tribulations in paint on canvas on a greatly enlarged scale. The “Girl” paintings, together with the war images (or “Boy” paintings) established him as a major protagonist of the American Pop Art movement. -
Roy Lichtenstein Re-Figure
1 ROY LICHTENSTEIN RE-FIGURE ROY LICHTENSTEIN RE-FIGURE ROY LICHTENSTEIN RE-FIGURE Essay by Kenneth E. Silver November 4, 2016 – January 28, 2017 CASTELLI 5 ROY LICHTENSTEIN, KEEPER OF THE FLAME Kenneth E. Silver It is nearly impossible to picture the 1960s without Roy Lichtenstein’s iconic, comic-book hero- ines. Their primary-colored, Benday-dotted melodra- ma, raised to the level of high art, perfectly captured Roy Lichtenstein Hopeless, 1963 Oil on canvas 44 x 44 inches 6 the instantly accessible, mass-produced, disposable reality of postwar America (and, by extension, the postwar world). Brenda Starr and Mary Worth had replaced Ophelia and Jane Eyre as representative fe- males, and Pop artist Lichtenstein appeared to dance on the grave of inherited culture. Art history had vanished—pssssst!—with what looked to be no more than the pressure of a manicured hand on an aerosol container, a key subject for the artist in 1962. Roy Lichtenstein Spray, 1962 Oil on canvas 36 x 68 inches 7 1. Henri Matisse, Yet, this apparent “end of history” style— “Notes of a Painter,” 1908, in Jack D. Flam, Lichtenstein’s carpe diem visual populism—was, like Matisse on Art (New York: Phaidon, so much else in his extraordinary career, a feint. The 1973), pp. 39–40. Pop women and men of the early 1960s were not the end of anything; they were, rather, timely examples of the timeless principle of representation, the one ex- pressed by Matisse, when, in 1908, he wrote: “All art- ists bear the imprint of their time, but the great artists are those in whom this is most profoundly marked.”1 What’s more, if only that art which expresses its mo- ment can ever achieve trans-historical significance, an insight that Lichtenstein grasped intuitively, the history of art is but a continuous series of propos- als—a chain of propositions—as to what might best represent a given moment. -
Representations of Female Suicide by Drowning in Victorian Culture
Post-mortems: Representations of Female Suicide by Drowning in Victorian Culture Valerie Meessen Res.Ma HLCS i Radboud University Abstract Het levenloze vrouwelijke lichaam gold in de negentiende-eeuwse Westerse kunst als een van de belangrijkste inspiratiebronnen. In deze periode verschenen er talloze geromantiseerde representaties waarin het lichaam van een dode vrouw centraal werd gesteld, zoals te zien op het voorblad van deze scriptie. Deze morbide fascinatie is door de feministische kritiek teruggeleid naar negentiende-eeuwse patriarchale ideologie: mannelijke kunstenaars en hun publiek zouden deze ultieme objectificatie van de vrouw sterk kunnen waarderen. Deze verklaring lijkt in eerste opzicht echter niet te stroken met de vele representaties van deze tijd waarin een vrouwelijk slachtoffer van zelfmoord te zien is. Zelfmoord wordt traditioneel gekoppeld aan autonomie, een associatie die het element van objectificatie lijkt tegen te gaan. Deze scriptie onderzoekt deze paradox vanuit een feministisch perspectief en focust zich hierbij op Victoriaanse representaties uit de periode 1840-1880 die de verdrinkingsdood van de stereotype ‘gevallen’ vrouw laten zien. Het doel van deze scriptie is tweeledig: ten eerste onderzoekt het hoe dit soort beeldvorming kan worden gerelateerd aan patriarchale ideologie; en ten tweede bekijkt het hoeverre dit terugkomt in geselecteerde werken van vier prominente schrijvers van deze periode, namelijk Charles Dickens, Elizabeth Gaskell, George Eliot en Thomas Hardy. ii Table of contents CHAPTER TITLE -
A Hopeless Painting, by a Hopeful Roy Lichtenstein
Integrative Seminar : final draft due November 29th 2016 Daryl, Laura, YB A Hopeless painting, by a hopeful Roy Lichtenstein In the 1960s America, while a generation of pop artists raised the copy to the rank of original, converted the cliché into an icon and erected commercial art as the emblem of an industrial and consumer society, Roy Lichtenstein seized the figure standardized by comics and advertising imagery.1 In a world set to conquer new technologies, how did Roy Lichtenstein mark, with subtlety, the contrasts and paradoxes facing artists of his time, especially in his painting Hopeless? In order to answer this question, we will first discover Roy Lichtenstein’s biography, then describe the piece Hopeless. Lastly, we will look at the historical and artistic context of the chosen art piece and its contemporary reception. Roy Lichtenstein was one of the first worldwide well-known American Pop artists. He was born, on October 27th 1923, raised in Manhattan, New York, in a Jewish family. He died in September 29th 1997, in Manhattan as well. Lichtenstein was a big figure in the art world and was able to develop and put forward new ideas. He went to school until the age of twelve, and he restarted it to attend Benjamin Franklin high school in New York City. After he graduated the high school, he attended watercolor classes at Parsons the New School in 19372, and Ohio State 1 Chris Hunt. Roy Lichtenstein. RM Arts Documentary Film. 1991. 2 History | Parsons School of Design. "History." http://www.newschool.edu/parsons/history/. Accessed November 27, 2016.