janis hendrickson lichtenstein
Janis Hendrickson. Lichtenstein
American painter Roy Lichtenstein (1923—1997) pioneered a new epoch in American art, bursting onto a scene dominated by Abstract Expressionism in late 1950s New York and defining a new art vocabulary for a new era.With his groundbreaking use of industrial production techniques and trivial, quotidian imagery such as cartoons, comic strips, and advertising, Lichtenstein joined contemporaries such as Andy Warhol and James Rosenquist to reflect and satirize American mass media and consumer culture. Works such as Look, Mickey! (1961), Drowning Girl (1963), and Whaam! (1963), deployed mass production techniques, particularly Ben-Day dots printing, to create a blow-up effect and pixelated “dot" style, with which Lichtenstein has become synonymous.This book provides an essential overview of Lichtenstein's career, tracing his earliest Pop statements through to later “brushstroke" retorts to Abstract Expressionism and reinterpretations of modern masterpieces. We look at his leading position in mid-century modernism, and the ways in which his works both critique and chronicle 20th-century America.
1845 Руб.Hendrickson Janis Roy Lichtenstein. 1923-1997. The Irony of the Bana
Comic genius One of the most important exponents of Pop Art In the late 50s and 60s, American painter Roy Lichtenstein (1923-1997) became one of the most important exponents of Pop Art-that movement which transformed products of mass consumption and the entertainment industry into subjects for art. This apotheosis of banal, everyday objects simultaneously constituted a criticism of the traditional elitist understanding of art. Almost alone among artists, Lichtenstein pursued the question of how an image becomes a work of art. Wholly in keeping with the spirit of the Classical Modern, he held that it was not the "rank" of the picture's subject that lends the picture its artistic character, but rather the artist's formal treatment of it. To Lichtenstein, however, this position seemed far too broad to be seriously pursued. Developed in the early 60s, Lichtenstein's grid technique, with its allusion to the mass-production of graphic art, allowed the painter to give vent to his own artistic scepticism. In the 60s and 70s, Lichtenstein expanded his formal repertoire of techniques for creating distance and irony by means of an idiosyncratic process of abstraction and especially by his use of his numerous art quotations.
1049 Руб.Hendrickson Janis Roy Lichtenstein. 1923-1997. The Irony of the Banal
When art went Whaam! American painter Roy Lichtenstein (1923–1997) pioneered a new epoch in American art, bursting onto a scene dominated by Abstract Expressionism in late 1950s New York and defining a new art vocabulary for a new era. With his groundbreaking use of industrial production techniques and trivial, quotidian imagery such as cartoons, comic strips, and advertising, Lichtenstein joined contemporaries such as Andy Warhol and James Rosenquist to reflect and satirize American mass media and consumer culture. Works such as Look, Mickey! (1961), Drowning Girl (1963), and Whaam! (1963) deployed mass production techniques, particularly Ben-Day dots printing, to create a blow-up effect and pixelated “dot” style, with which Lichtenstein has become synonymous. This book provides an essential overview of Lichtenstein’s career, tracing his earliest Pop statements through to later “brushstroke” retorts to Abstract Expressionism and reinterpretations of modern masterpieces. We look at his leading position in midcentury modernism, and the ways in which his works both critique and chronicle 20th-century America.
2206 Руб.
Тапочки MICHAEL KORS, размер 37, серый
Женская домашняя обувь MICHAEL KORS (полиэстер/хлопок) JANIS SLIPPER
7730 Руб.Тапочки MICHAEL KORS, размер 36, серый
Женская домашняя обувь MICHAEL KORS (полиэстер/хлопок) JANIS SLIPPER
7730 Руб.Тапочки MICHAEL KORS, размер 35, серый
Женская домашняя обувь MICHAEL KORS (полиэстер/хлопок) JANIS SLIPPER
7730 Руб.Тапочки MICHAEL KORS, размер 40, серый
Женская домашняя обувь MICHAEL KORS (полиэстер/хлопок) JANIS SLIPPER
7730 Руб.Тапочки MICHAEL KORS, размер 40
Женская домашняя обувь MICHAEL KORS (полиэстер/хлопок) JANIS SLIPPER
7730 Руб.Тапочки MICHAEL KORS, размер 38.5
Женская домашняя обувь MICHAEL KORS (полиэстер/хлопок) JANIS SLIPPER
7730 Руб.Тапочки MICHAEL KORS, размер 37
Женская домашняя обувь MICHAEL KORS (полиэстер/хлопок) JANIS SLIPPER
7730 Руб.Тапочки MICHAEL KORS, размер 35
Женская домашняя обувь MICHAEL KORS (полиэстер/хлопок) JANIS SLIPPER
7730 Руб.Тапочки MICHAEL KORS, размер 36
Женская домашняя обувь MICHAEL KORS (полиэстер/хлопок) JANIS SLIPPER
7730 Руб.Тапочки MICHAEL KORS, размер 38.5, розовый
Женская домашняя обувь MICHAEL KORS (полиэстер/хлопок) JANIS SLIPPER
7730 Руб.Тапочки MICHAEL KORS, размер 38.5, серый
Женская домашняя обувь MICHAEL KORS (полиэстер/хлопок) JANIS SLIPPER
7730 Руб.Тапочки MICHAEL KORS, размер 40, розовый
Женская домашняя обувь MICHAEL KORS (полиэстер/хлопок) JANIS SLIPPER
7730 Руб.Comic genius One of the most important exponents of Pop Art In the late 50s and 60s, American painter Roy Lichtenstein (1923-1997) became one of the most important exponents of Pop Art-that movement which transformed products of mass consumption and the entertainment industry into subjects for art. This apotheosis of banal, everyday objects simultaneously constituted a criticism of the traditional elitist understanding of art. Almost alone among artists, Lichtenstein pursued the question of how an image becomes a work of art. Wholly in keeping with the spirit of the Classical Modern, he held that it was not the "rank" of the picture's subject that lends the picture its artistic character, but rather the artist's formal treatment of it. To Lichtenstein, however, this position seemed far too broad to be seriously pursued. Developed in the early 60s, Lichtenstein's grid technique, with its allusion to the mass-production of graphic art, allowed the painter to give vent to his own artistic scepticism. In the 60s and 70s, Lichtenstein expanded his formal repertoire of techniques for creating distance and irony by means of an idiosyncratic process of abstraction and especially by his use of his numerous art quotations.
