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Europe and America 1945-70
Still from Mad Men opening credits, AMC television series
Europe and America 1945-60
People & Events: • Response to upheaval and
devastation of WW II • Rise of consumerism in 50s• Influence of European avant-
garde in exile in U.S.• New York & the “New York
School”• Clement Greenberg &
Greenbergian formalism
ALBERTO GIACOMETTI, Man Pointing, 1947. Fig. 15-2.
Themes: • Formal exploration
(“purity”)• Self-expression• Isolation and despair• The sublime• Consumer and popular
cultureForms:• Abstraction, realism,
found objects, new media
Europe and America 1945-60
Francis Bacon, Painting, 1946, fig.15-3
Painting and Sculpture, 1945 to 1960
JACKSON POLLOCK, Number 1, 1950 (Lavender Mist), 1950. Fig. 15-4.
Painting and Sculpture, 1945 to 1960• Abstract Expressionism,
gestural abstraction
• Rise of American modernist painting
• Act of creation most important
• All-over composition (no central focus)
• Greenbergian formalism?
• Jungian psychoanalysis? JACKSON POLLOCK, Number 1, 1950 (Lavender
Mist), 1950, oil, enamel, aluminum paint, fig. 15-4.
At a certain moment the canvas began to appear to one Americanpainter after another as an arena in which to act—rather than as a space in which to reproduce, redesign, analyze or “express” an objectreal or imagined. What was to go on the canvas was not a picture butan event. -Harold Rosenberg, 1952
Painting and Sculpture, 1945 to 1960
WILLEM DE KOONING, Woman I, 1950–1952.
Fig. 15-5.
Painting and Sculpture, 1945 to 1960• Abstract Expressionism,
gestural abstraction • Expressive, energetic
application of paint • Retains figure• Inspired by Cubist formal
analysis• Critique of women in
advertisements• Act of painting (2 yrs to
complete painting, 200 attempts)
WILLEM DE KOONING, Woman I, 1950–1952. Fig. 15-5.
“Woman” II, III, & IV
“Venus” of Willendorf
Picasso’s Les Demoisellesd’Avignon, 1907 1950s Camel Cig. ad
Painting and Sculpture, 1945 to 1960
Robert Rauschenberg, Canyon, 1959, mixed media, fig. 15-15Rembrandt, Rape of Ganymede
1635, oil
Painting and Sculpture, 1945 to 1960
Robert Rauschenberg, Canyon, 1959, mixed media, fig. 15-15
• Proto-Pop• “Combine” (found object assemblage)• Includes stuffed bald eagle, pillow hanging from string, photo of young son• “Open and indeterminate” meaning• Resists over-manipulation of objects• Resembles Dada collage and anti-aesthetic (Duchamp)
Painting relates to both artand life. Neither can be made (I try to act in the gap betweenthe two). -Rauschenberg
Painting and Sculpture, 1960 to 1970
People & Events: • Youth culture rejects traditional values• Protest against war – pacifist movements in 1960s• Civil and women’s rights (African American, Gay & lesbian)• Assassinations of JFK (1963), MLK (1968)• Vietnam War (until 1975)
President Elect by James Rosenquist1960-61/1964, oil on masonite
General Nguyen Ngoc Loan Executing a Viet Cong Prisoner in Saigon by Eddie Adams, 1968, Associated Press
Painting and Sculpture, 1960 to 1970
Themes:• Formal exploration• Consumer and popular culture• Accessibility & inclusion• Objectivity (vs. subjectivity)
Forms:• Pop Art• Minimalism • Mass production (the serial image/object) • Found images/objects• Performance & body art
Louise Nevelson, Tropical GardenII, 1957-59, painted wood, fig.15-11
Painting and Sculpture, 1960 to 1970
ANDY WARHOL, Marilyn Diptych, 1962. Fig. 15-17.
Painting and Sculpture, 1960 to 1970• Pop Art • Established commercial
illustrator• Commentary on
celebrity (public persona)• Mass production (serial)• Combines printing
& painting• References film• Produces painting
at “factory”, breaks
rules of high art
ANDY WARHOL, Marilyn Diptych, 1962. Fig. 15-17.
Andy Warhol, Self-Portraitin Drag, 1981
Celebration or critique?
Painting and Sculpture, 1960 to 1970• Pop Art • Popular comic books,
romantic melodrama• Resulted out of a challenge
from his young son (“I bet you can’t paint as good as that”)
• Benday dots, look of comic book
• Slight alteration of image, retained most of original
• Blurs lines between high art medium and low-brow entertainment
• Plagiarism? ROY LICHTENSTEIN, Hopeless, 1963. Fig. 15-16.
Painting and Sculpture, 1960 to 1970
La Fillette, Robert Mapplethorpe, 1982
Louise Bourgeois, Cumul I, 1969, marbleFig. 15-12
• Like biomorphic surrealism• Body as landscape• Sexual suggestiveness (castration fantasies?)
Painting and Sculpture, 1960 to 1970
• Minimalism • Tangible qualities of the
object• Purity of form without
embellishment• Embraces qualities of the
materials• Removes deception &
illusion • Pure abstraction
(“objecthood”)DONALD JUDD, Untitled, 1969.
Fig. 15-10.
• Superrealism • Translation of photograph
to painting by grid• Systematic, objective
process• One of many portraits of
self and friends• All using standard size
(9’ x 7’)
Painting and Sculpture, 1960 to 1970
Chuck Close, Big Self-Portrait, 1967-68Acrylic, fig. 15-18
• Superrealism• Painted with an airbrush• Average Americans• “Emptiness and
loneliness” of
daily American life• Gritty realism
vs. idealism
Painting and Sculpture, 1960 to 1970
Duane Hanson, Supermarket Shopper, 1970Polyester resin and fiberglass, fig. 15-19
Contemporary Superrealism
Ron Mueck, A Girl (2006, 15’ long) and Spooning Couple (2005, 1/2 scale)