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The
meeting Marcel Duchamp (1881/1968) with Man Ray its arrival in New York was
right after the beginning of a close artist friendship and a creative
cooperation, which up to the end of the life of one persisted Ray.
Together with Francis Picabia created Man Ray and Marcel Duchamp the New
Yorker Dada movement with Katherine Dreier ( 1920 > the Société Anonyme
in New York<, the first Museum for Modern Art in the USA.
The devastating effect, which the Second World War had
European culture, particularly in Germany, stood behind the resolution to
establish the intellectual foundation of the creative one again; that seemed
possible only outside of the old artistic traditions, which doubtful the war had
made. The demand for a new creative
incentive in Europe met a phase of over-foaming vitality in the American Art,
that whose cause was understood only later.
Encouraged by private
and public commitment and under the influence rapidly reacting art dealer, the
current of the art and the artistic influence turned.
For the
first time in history it began to move from America to Europe. Considerably into
the fifties years were the controlling works of the Abstract Expressionism so
among other things of
o
Robert Rauschenberg
(see illustratlion of rau001
and rau002), while for instance starting from the center of the sixties
straight this Abstract Expressionism seemed already again as old fashionable.
Noise mountain brought later the existing problem concisely on the point: > a illustratlion should look not like something, which it is
not, but after something that it actually is<, for example from the direct
environment, as the everyday these subject of the large city culture and so on.
In the work of noise mountain the aesthetic function of the coincidence
and the ambiguous came fully to the development.
The in Germany born and former artistic director of a large publishing house in Munich, of the national socialists refugee
o
Richard
Lindner, established
itself 1941 in New York, he received to 1948 the American nationality. First he worked as successful advertising commercial artists
for Vogue, and then informed Lindner on the Pratt of institutes in Brooklyn, New
York. Lindner was often brought
because of the erotic representations by figures in connection with the Pop Art,
although its literary and autobiographic drafts proved their own style (see
illustratlion of lin001, lin002, lin003).
o
SamFrancis,
painter of the Abstract Expressionism. Francis
manufactures numerous lithographs (see
illustratlions of
frc001 to frc007) to 1959 takes part it to > the
Documenta 2< and
1964 to > the Documenta 3< in Kassel. 1969 lend the Universityof
California in Berkeley to it. 1978:
Exposition SAM FRANCIS, peintures récentes 1976-1978 France, Paris,
Centre Georges Pompidou/Mnam - Galeries of contemporaines et forum, expositions
individual.
o
Kimber
Smith, an
abstract artist and expressive Tachist (see illustratlion of smi001 to smi004).
Special exhibitions: 1951,1952
and 1953 in the "New Gallerie in York" 1959 Klipstein & Kornfeld
in Berne and in the Peridot Gallerie in New York. Literature:
Art Digest –Arts- 1958 NR. 25.
o
Alfred Leslie, studies on the Art Students League (1946) at the Art and with Tony Smith to the
New York University (1946-1948). In
the fifties it issues illustratlions, which are affected by the Abstract Expressionism.
By omitting any about not belonging background, he forces the viewer, on
the central placed figure to concentrate (see
illustratlion of les001 and les002).
o
Robert Indiana, after his return to the USA established himself he in New York.
1955 he became acquainted with Ellsworth Kelly, whose > Hard
edge<-Abstraction affected its style in the late fifties fundamentally.
Starting from 1961 Indiana created strict illustratlions mil large sized letter
applied with a template and > Hard edge< samples, which occupy the
influence again by Kellys work. Indianas
assumption of the minimalist manifestations of describing and commercial
indications in these illustratlions illustrated its tendency to catch the experience
modern America a goal, which reflects itself also in its decision (see
illustratlion of ind003).
§
On the occasion
of the publication of works of the pressure graphics and posters of Robert Indiana (edition
Domberger Stuttgart and New York of 1971) wrote William Katz in the introduction:
>In the way he worked he distilled that quality of American directness, which
is its own manner of intimacy - the bright glow of its optimism shielding a hard,
fast sense of pragmatic reality, even cynicism. Generosity tempered by its
formal contexts. From his living and working, Robert Indiana grew to become a
painter of American words, painter of American signs and symbols, painter of
American Dreams (America still having dreams). His attention produced a body of
work which began to constitute a kind of interior American landscape<.
With the
Pop Art since the beginning of the sixties became the advertisement, which
brings up for discussion Comics. The
Pop Art in America did not run without concept, it gave a communist manifesto
as in the era of the Abstract Expressionism (Nouveau Realisme).
The majority of those, which should form the group of cores later, dissociated itself even on the one hand or other time from this term. At the latest 1961 however, when always frequent Roy Lichtenstein, Andy Warhol, Tom Wesselmann, Jim Dine, James Rosenquist and Claes Oldenburg into the foreground stepped, became clear that two different currents of > new Realism < had flowed together or > Neo Dada <, in order to form a double-railed American category, although all six artists investigated possibilities of cleaning their art from the Abstract Expressionism to. One must take to the knowledge that the Pop Art embodied the spirit of the time and also society-critical topics.
Which following
o
Allan
Kaprows (see
illustratlion of kap001 and kap002) accumulations from the surrounding field,
which garbage of the large city culture came.
Between the both bearings
§
Wesselmann and Rosenquist occupied fewer clearly outlined terrain, whereby
o
Wesselmann
(see illustratlion of wes001) tended to the Collage of
elements of the printed advertisement and pieces of find, while
o
Rosenquist
preferred the Giantism of fragmentary parts of advertisement surfaces (see
illustratlion of ros002), which he by one - his talents as poster painters
accordingly - sumptuous colour (see
illustratlion of ros003)
interconnected.
§
All together
learned and experienced advertising artists in different sections, left
themselves them by the new possibilities, which had suggested Robert
Rauschenberg and Jasper Johns in their art, how inspire also by certain aspects
of the customs art originally practiced by them, in order to find a language in
the high art.
Among
the painters the efforts still applied primarily compositions, which filled out
the whole image plane freely from illusions.
Oldenburg, Wesselmann and Dine penetrated by their special kind of the
constructions into this area. The
group used anti- naturalism colors in your work on, like that for example
o
Lichtenstein:
Red, yellow, blue and black (see
illustratlion of
lic001, lic002, lic003);
o
Wesselmann:
Red, white, blue and yellow (see
illustratlion of
wes002 and wes003);
o
Oldenburg:
the basic colours; (see
illustratlion of old001, old003, old004);
o
Dine:
Grey, illustratlion intersperses colours (see
illustratlion of din001 and din002). The
most obvious exception was
o
Rosenquist,
which gave the early monochrome up colour patterns soon, in order the entire
spectrum to investigate (see
illustratlions of ros001, ros002,
ros003).
Andy
Warhol was first,
which 1949 as a fresh graduate of the Pittsburgher Carnegie Institute of
Technology in New York arrived. It
became soon one the most successful illustrator of New York.
Its designs were regularly issued, 1956 even in the Museum of Modern Art.
1958 it was in every detail informed about it, what Rauschenberg and
Jasper Johns made, and its most ardent desire was to be likewise gotten the
acknowledgment, which had these two in the world of the Art already.
Roy
Lichtenstein, a
veteran with a degree of Master of Arts of Ohio State University and training as
technical draughtsmen, should resettle 1963 to New York, had there however
already 1951 its first single exhibition and showed 1952 its half abstract, half
realistic illustratlions. Lichtenstein turned to 1960 under the influence of Allan
Kaprow and the circle of the Rutgers University of a Pop-illustratlion-language.
As next
came 1955 James Rosenquist from Minnesota to New
York. After it had proven unusual
talent as a painter of wide advertisement walls, it received a scholarship for
the kind Students League and made in the same year the acquaintance also Robert
Indiana against 1957 was personally well-known it also with Johns, Rauschenberg
and Ellsworth Kelly, and it took 1959 in one of Robert Indiana and Jack
Youngerman organized course indication instruction, in which also Claes
Oldenburg and Henry Pearson participated.
After
the attendance of the Yale University and kind of institutesof Chicago as well
as a temporary activity as magazine Illustrator Claes
Oldenburg was resettle 1956 to New York, where it worked in the library
of the Cooper union School of Art and Architecture.
In the
same year Tom Wesselmann (B. A. in Psychology,
University of Cincinnati) received a scholarship for training as the Cartoonist
at the Cooper Union School.
The
exhibits shown in this exhibition belonging to the Pop Art for example of
The Pop
Art in the USA was at this time on the high point, museums in New York,
Washingten and Housten strove at the same time for the new avant-garde, which
was called partially also Neo Dada, New Realism, Common Object Painting or also
as Neo Surrealism.
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