Lichtenstein Pop-Art Resist
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Le Pop Art Et Le Consumérisme
Le pop art et le consumérisme Après avoir étudié des mouvements comme la renaissance, le baroque ou encore l’impressionnisme, passons au pop art, mouvement multidisciplinaire du 20e siècle. “210 bouteilles de coca cola”, Andy Warhol, 1967 Origines britanniques ... Né en Grande-Bretagne dans le milieu des années 1950, le “pop art” (abréviation de la formule “popular art” ou art populaire) concerna d’abord principalement les techniques de la sérigraphie et du collage. Le mouvement émergea quelques années plus tard aux Etats-Unis. Bien que ce mouvement soit apparu dans un intervalle assez court dans ces deux pays, il divergea un peu comme nous le verrons ensuite. On peut considérer que les premières esquisses de pop art datent de 1947 avec une réalisation de Paolozzi. Cet artiste écossais créa des collages dans un style surréaliste dès la fin de la Apprendre à dessiner deuxième guerre mondiale dont un qui tendait vers un nouveau style artistique. L’oeuvre, intitulée « J’étais le jouet d’un homme riche » (I Was a Rich Man’s Plaything) fut réalisée à partir d’images découpées d’une pin-up, du logo Coca-Cola et du mot “pop”. L’artiste (comme Richard Hamilton, l’autre principal acteur du pop art britannique) savait bien cerner la société de consommation. “I Was a Rich Man’s Plaything”, Eduardo Paolozzi, 1947 Paolozzi était un des membres fondateurs de l’Independent Groupe dont les membres, dès 1952, se réunissaient très souvent à l’Institut des Arts Contemporains de Londres pour discuter de leur vision de l’art (une vision dominée par l’abstrait). -
$495 Million Highest Total in Auction History
PRESS RELEASE | N E W Y O R K FOR IMMEDIATE RELEASE | 1 5 M A Y 2 0 1 3 MAY 2013 POST-WAR AND CONTEMPORARY ART EVENING SALE ACHIEVED $495 MILLION HIGHEST TOTAL IN AUCTION HISTORY Christie’s auctioneer Jussi Pylkkanen, hammers down Jackson Pollock’s Number 19, 1948, which achieved the highest price for the artist at $58.3 million POLLOCK’S NUMBER 19, 1948, SOLD FOR $58M (£38.5M / €45.5M) A WORLD AUCTION RECORD FOR THE ARTIST LICHTENSTEIN’S WOMAN WITH FLOWERED HAT REALIZED $56M (£37M / €43M) A WORLD AUCTION RECORD FOR THE ARTIST DUSTHEADS FETCHED $48.8M (£32M / €38M), SETTING A NEW WORLD AUCTION RECORD FOR BASQUIAT GUSTON’S TO FELLINI, ACHIEVED $25.8 (£17M / €20) WORLD AUCTION RECORD FOR THE ARTIST STRONG INTERNATIONAL DEMAND FOR MASTERPIECES AND WORKS FROM PRESTIGIOUS PROVENANCE 16 NEW ARTIST RECORDS SET 3 WORKS SOLD ABOVE $40 MILLION, 9 ABOVE $10 MILLION, AND 59 ABOVE $1 MILLION New York – On May 15th Christie’s Post-War and Contemporary Art evening sale achieved a staggering $495,021,500 (£326,714,190/ €386,116,770), with a remarkably strong sell-through rate of 94% by value and by lot. Bidders from around the world competed for an exceptional array of Abstract Expressionist, Pop and Contemporary works from some of the century’s most inspiring and influential artists, including Jackson Pollock, Roy Lichtenstein and Jean-Michel Basquiat. The sale featured a range of superlative works from distinguished private collections and institutions, such as the Collection of Celeste and Armand Bartos and the Estate of Andy Williams. -
Early Roy Lichtenstein: a Fount of Insight on Postwar America
Early Roy Lichtenstein: A fount of insight on postwar America By Murray Whyte Globe Staff,Updated May 7, 2021, 47 minutes ago Roy Lichtenstein's "Washington Crossing the Delaware II," from about 1951.ESTATE OF ROY LICHTENSTEIN/COURTESY OF GABRIEL MILLER WATERVILLE, Maine — In 1940, an Ohio State undergraduate named Roy Lichtenstein — yes, that Roy Lichtenstein — made a loose and gestural ink sketch of Paul Bunyan felling a tree with a mighty swing. He passed it off to his roommate with a wink. Keep it, he said. I’m going to be famous someday. Someday came, and famous he was, though not for works like that. In 1961, Lichtenstein made “Look Mickey,” his first-ever appropriation of a four-color pulp illustration. (He lifted it from the 1960 kids’ book “Donald Duck: Lost and Found.”) That anchored him as one of the pillars of the thoroughly American Pop Art movement. But “Roy Lichtenstein: History in the Making, 1948-1960,” at the Colby College Museum of Art, isn’t about any of that. It’s about Lichtenstein before he became Lichtenstein, and it’s a revelation: A fresh view of an artist who reached a saturation point so long ago he can feel as familiar and over-worn as old wallpaper. “History in the Making” is instead unfamiliar, exhilaratingly so, spanning the artist’s long teaching stints in Cleveland and upstate New York, up to a breath before that fateful Mickey steered his course into mass-cultural history. The show captures a young artist in a postwar moment, unmoved by the sunny optimism of a burgeoning American dream and driven to peel back its thin myths. -
Pop Art with Roy Lichtenstein
January 2020 The Studiowith ART HIST RY KIDS Pop Art with Roy Lichtenstein Observe | Discuss | Discover | Create | Connect Pop Art with The Studiowith Roy Lichtenstein ART HIST RY KIDS INTRODUCTION The art of the ordinary Roy Lichtenstein’s successful art career was based on one simple idea – creating fine art inspired by images we see everyday. His art captures the ordinary things that surround us – advertisements, comic books, the painting of other famous artists like Picasso, Mondrian, Matisse, and Monet, and even Micky Mouse cartoons. He took these ideas and recreated them on a larger than life scale. Most of his can- vases are grand and oversized – they are truly bold and impactful when seen in person! He also infused little bits of commentary in his art, and he became known for his skillful use of parody. You don’t need to study every piece of art that’s included in this guide. Feel free to choose just a few that are most interesting to your kids. A range of subject matter is included here, but if some of these paintings are too intense for your kids– just skip them for now, and come back to them when they are older! There’s no hurry, and there are plenty of paintings included here that are perfect for young kids. Pop Art looks out into the world. This is your week to look closely at the “ art and chat about it. We’ll learn all It doesn’t look like a painting of about Lichtenstein and his art next something, it looks like the thing week. -
Dorothy Lichtenstein (Dl)
THE MUSEUM OF MODERN ART ORAL HISTORY PROGRAM INTERVIEW WITH: DOROTHY LICHTENSTEIN (DL) NTERVIEWER: AGNES GUND (AG) LOCATION: NEW YORK, NEW YORK DATE: MAY 6, 1998 BEGIN MINICASSETTE MASTER TAPE 1, SIDE A AG: I'd like to thank you, first of all, for doing this. It's very nice of you. The first question that I'd like to ask you is, how did you and Roy meet, the first time? DL: The first time we met, I was working at a gallery, the Bianchini Gallery. That was around the corner from the Castelli Gallery at 4 East 77th Street. We were on 78th Street, and, in fact, that's the gallery that Rosa Esmond has now, Ubu Gallery [16 East 78th Street]. AG: Oh, is that her gallery? DL: Yes. We were doing a show called The Great American Supermarket, based on the fact that so much of the work in the early '60s imitated commercial products and ads, so we thought to set the exhibition up. AG: That's great. And this was a contemporary gallery? DL: Yes. When I started working there, Paul Bianchini owned it, and he did mostly drawing shows of modern masters, but, say, French and Europeans and mostly pre-war, but he would have had Dubuffet and Giacometti. AG: And he was a friend of Leo's [Castelli]. MoMA Archives Oral History: D. Lichtenstein page 1 of 29 DL: Well, he ran this gallery. He knew Leo, and of course it was very exciting. We thought Leo's gallery was the most exciting place. -
1 Oversimplification As Remediation: Roy Lichtenstein's Paintings And
Oversimplification as Remediation: Roy Lichtenstein’s Paintings and 1960s Comics1 Denis Viva Introduction Within the Pop Art scene, Roy Lichtenstein’s work has unquestionably been associated with the language of comics. From the spring of 1961 when he first painted canvases inspired by the characters of Mickey Mouse and Popeye, up until his latest work in the 1990s, Lichtenstein never ceased to draw from the cheap and reduced palette, the schematic drawing, and the narrative cliché of the comic strip style. Throughout his career, innumerable art critics and scholars have dedicated laudable studies to this topic by comparing his paintings with their comics sources, or by arguing about the gender questions raised by his stereotyped feminine subjects.2 In light of its explicit and close relationship with comics, Hal Foster recently considered Lichtenstein’s work as a form of reflecting on the process of “mediation” through which the consumer society re- elaborates events and objects as artificial images (Foster 62-108). According to Foster, not only did Lichtenstein appropriate the comic subjects but also their way of “mediating” a fictitious reality through their images and style. By following up on Foster’s studies, nowadays it would be possible to further rephrase Lichtenstein’s interest for the visual “mediation” of mass media into new terms. Indeed, the notion of remediation, introduced by Jay Bolter and Richard Grusin (Bolter, Grusin 21-50), may better enlighten the doubling act of Lichtenstein’s painting, which tries to mediate, once more, something (the comic strips) that is in its turn already a mediation. Lichtenstein always followed a meticulous process of transposing the comics’ practice of mediation into painting by reversing the original process between the two media: while comics used to make handmade images reproducible, his canvases turned those comic pictures into unique, painted images. -
Lichtenstein Why Brad Darling
ROY LICHTENSTEIN - "Why, Brad Darling" DESCRIPTION Mixed media on paper. Initialled (RL) in pencil on lower-left of image. The sheet measures 21x 21 cm or 8.25 by 8.25 in. The subject work is executed in water- based paint and ink. The image is framed with a border. It is probable that the subject work is a final study for the iconic work, created in 1962. The work is in good condition with minor signs of aging, consistent with a painting on paper from that period. Blog Useful links Wikipedia Artnet.com For more information and pricing, please use the Contact form. Roy Fox Lichtenstein (pronounced /ˈlɪktənˌstaɪn/; October 27, 1923 – September 29, 1997) was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art movement. His work defined the premise of pop art through parody.[2] Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in-cheek manner. His work was influenced by popular advertising and the comic book style. He described pop art as "not 'American' painting but actually industrial painting".[3] His paintings were exhibited at the Leo Castelli Gallery in New York City. Whaam! and Drowning Girl are generally regarded as Lichtenstein's most famous works,[4][5][6] with Oh, Jeff...I Love You, Too...But... arguably third.[7] Drowning Girl, Whaam! and Look Mickey are regarded as his most influential works.[8] His most expensive piece is Masterpiece, which was sold for $165 million in January 2017.[9] Source: https://en.wikipedia.org/wiki/Roy_Lichtenstein E: [email protected]. -
Dessous De Roy Lichtenstein Table Des Matières´
Wallonie Les dessous de Roy Lichtenstein Table des matières´ Introduction 3 Légende 3 1. Contexte : 4 le Pop Art 4 Naissance : entre Grande-Bretagne et Etats-Unis 4 Définition et caractéristiques 7 2. Biographie de Roy Lichtenstein 10 3. Une multitude de techniques 12 4. Une multitude de sujets exploités 15 La bande dessinée 15 Les objets du quotidien 17 La publicité 19 Nature industrialisée 20 Après la bande dessinée 22 La représentation de la femme dans les années 50 25 Roy Lichtenstein et la figure féminine 26 Conclusion 28 Sources 29 Introduction Dans ce livret, nous vous proposons de découvrir Roy Lichtenstein, artiste pop art américain, pour accompagner l’exposition « Roy Lichtenstein, visions multiples au BAM », Musée des Beaux Arts à Mons. Ce livret, dans la lignée de la collection « Les Dessous de... » d’Article 27 Wallonie, est conçu pour vous laisser une trace de la visite et vous apporter des informations sur la vie de l’artiste, ses influences, sa manière de concevoir son travail, afin de mieux le comprendre. Au fil des pages, nous vous amènerons également à vous questionner et vous positionner par rapport aux thématiques présentes dans l’œuvre de l’artiste. Bonne lecture ! LÉgende´ Pour vous guider à travers ce livret, celui-ci est ponctué de différents éléments Questions PISTES DE z RÉPONSE Citation de Roy lichtenstein l Citations d’autres personnes Légendes | explications de la légende anectode 1. Contexte : le Pop Art Naissance : entre Grande-Bretagne et Etats-Unis Le Pop Art – art populaire en français – est né en Grande-Bretagne au milieu des années 50. -
Arts Visuels
Période 1 Période 2 Période 3 Période 4 Période 5 L'AMERIQUE DU NORD Arts visuels L'image choisie est le point d'ancrage du travail proposé. Elle est accompagnée d'images « satellites » qui ont un lien avec elle par au moins un élément : le thème, la nature, la couleur, la composition, la technique, une période historique … Appprendre à regarder, c'est avant tout prendre le temps d'observer, de ressentir, de s'interroger, d'analyser pour aller au delà du premier regard et pourquoi pas de contempler, de s'émerveiller, de s'émouvoir... Les œuvres de référence : - "Regarde, Mickey" (Look Mickey) Roy Lichtenstein, 1961- Huile sur toile, 121,90 x 175,30 cm- Collection de l'artiste - "Donald Duck Lost and Found" Bob Grant et Bob Totten (Illustrateurs) Entreprise Disney-Carl Buettner Les œuvres mises en réseaux : - "Atelier d'artiste, regarde, Mickey" (Artist's studio, Look Mickey), Roy Lichtenstein, 1973 Huile et Magna sur toile 243,80 cm x 325,10 cm – Minneapolis (MN) Walker Art Center - "Chef d’œuvre, Masterpiece", Roy Lichtenstein ,1962 -huile sur toile 137,2 x137,2 cm- Collection particulière. Florence Dusart CPD AV DSDEN 50 1 Le Pop-Art , un mouvement artistique qui vient de l'ouest. 1) Un contexte historique et social au départ : Après la seconde guerre mondiale, entre 1950 et 1960, une période de "sur consommation" particulièrement aux États Unis voit le jour. Le monde de la publicité a envahi la vie quotidienne des américains. Ces images" populaires" sont faites pour toucher tout acheteur potentiel. Le Pop Art ("popular art" en abrégé) est un mouvement artistique qui a puisé ses sujets d'inspiration, ses thèmes de prédilection en observant le quotidien : les habitudes des consommateurs, le comportement de cette société de masse, ses objets, ses médias.. -
Kirk Varnedoe (Kv)
THE MUSEUM OF MODERN ART ORAL HISTORY PROGRAM INTERVIEW WITH: KIRK VARNEDOE (KV) INTERVIEWER: SHARON ZANE (SZ) LOCATION: THE MUSEUM OF MODERN ART DATE: 28 NOVEMBER 2001 BEGIN TAPE 1, SIDE 1 SZ: I'll start the way I always do, and ask you to tell me where and when you were born, and something about your family background. KV: I was born in Savannah, Georgia, January 18, 1946. I was the youngest of four children, by a good stretch. My two brothers and my sister were six, seven and eight years older than I was, so I was the baby of the family, by a long shot. My parents had both grown up, more or less, in Savannah, although my father wasn't born there. He was an investment banker who had started his own firm in the depths of the Depression, which was an odd thing to do, but he still, when I was growing up, was running it with a partner, as a private investment firm. SZ: Did you say he was not from Savannah? KV: He was born in Tampa, actually. SZ: Well, he was southern, anyway. KV: Yes, he was southern. Definitely. Southern, and with strong Scottish ties; very proud of his Scottish heritage. He was president of the St. Andrew's Society. I grew up with small kilts, piping in front of the haggis -- that sort of thing. MoMA Archives Oral History: K. Varnedoe page 1 of 180 SZ: Golf? KV: He was a very big golfer. He took us to Glen Eagles and St. -
Nicolas Moufarrege: Recognize My Sign Contemporary Arts Museum Houston
Nicolas Moufarrege: Recognize My Sign Contemporary Arts Museum Houston Nicolas Moufarrege: Recognize My Sign November 10, 2018–February 17, 2019 Please do not remove from gallery. 1 Nicolas Moufarrege: Recognize My Sign Contemporary Arts Museum Houston BEIRUT In 1973, Nicolas Moufarrege mounted his first art exhibition at Triad Condas gallery in Beirut, Lebanon. The exhibit included a number of modestly-sized portrait-tapestries; a representative work is included in this exhibition. Moufarrege did not follow pre-made plans when embroidering, as one would with a standard embroidery kit. His approach, which he called “experimental weaving,” is improvisational: as images developed, he elaborated on them stitch by stitch. A similar energy enlivens a nearby drawing in marker on paper. For his tapestries, Moufarrege inventively used a combination of silk, cotton, and wool threads in varying colors to create vibrant textures, movement, and tonal shifts. In a 1973 interview with Moufarrege in the magazine Le Beyrouthin on the occasion of his inaugural show, the noted Lebanese artist Etel Adnan remarked that “this is how traditional craftsmanship becomes a personal art full of promise.” Unless otherwise noted, all works appear courtesy Nabil Moufarrej and Gulnar “Nouna” Mufarrij, Shreveport, Louisiana. No. 7, 1975 Thread on needlepoint canvas Une Ile [An Island], 1975 Thread on needlepoint canvas Please do not remove from gallery. 2 Nicolas Moufarrege: Recognize My Sign Contemporary Arts Museum Houston Embroidered patch, n.d. Thread and bead on denim Artist’s scrapbook, n.d. Various materials Untitled drawing, n.d. Marker on paper Title unknown, n.d. Thread on needlepoint canvas Please do not remove from gallery. -
Roy Lichtenstein : Des Images À Consommer
Document généré le 25 sept. 2021 03:37 Vie des arts Roy Lichtenstein Des images à consommer Bernard Paquet Volume 39, numéro 154, printemps 1994 URI : https://id.erudit.org/iderudit/53535ac Aller au sommaire du numéro Éditeur(s) La Société La Vie des Arts ISSN 0042-5435 (imprimé) 1923-3183 (numérique) Découvrir la revue Citer cet article Paquet, B. (1994). Roy Lichtenstein : des images à consommer. Vie des arts, 39(154), 14–19. Tous droits réservés © La Société La Vie des Arts, 1994 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ «m m ROY LICHTENSTEIN HOC 3z DES IMAGES H- A CONSOMMER O Bernard Paquet Figure de proue du Pop Art, Roy Lichtenstein a d'abord été connu pour ses reproductions d'images empruntées aux « comics » américains des années La peinture la plus ancienne présentée nique utilisée est aussi simpliste et sché dans cette exposition est le Look Mickey matique que celle des « cartoons ». Elle soixante. Il a su, néanmoins, de 1961 qui est la toute première œuvre souligne la banalité des clichés que dans laquelle l'artiste reproduit une ima l'artiste n'a eu qu'à glaner autour de lui.