Reva Wolf (24 November 1997). Andy Warhol, Poetry, and Gossip in the 1960s. p.83. ISBN 9780226904931 . Retrieved 30 December 2015. The movement was a reaction against the traditions of accepted art. It often used bright colours such as red, blue, and yellow, as well as images of celebrities or fictional characters from TV or comics. Rauschenberg, Robert; Miller, Dorothy C. (1959). Sixteen Americans [exhibition]. New York: Museum of Modern Art. p. 58. ISBN 978-0029156704. OCLC 748990996. “Painting relates to both art and life. Neither can be made. (I try to act in that gap between the two.)”

Although pop art began in the early 1950s, in America it was given its greatest impetus during the 1960s. The term "pop art" was officially introduced in December 1962; the occasion was a "Symposium on Pop Art" organized by the Museum of Modern Art. [19] By this time, American advertising had adopted many elements of modern art and functioned at a very sophisticated level. Consequently, American artists had to search deeper for dramatic styles that would distance art from the well-designed and clever commercial materials. [6] As the British viewed American popular culture imagery from a somewhat removed perspective, their views were often instilled with romantic, sentimental and humorous overtones. By contrast, American artists, bombarded every day with the diversity of mass-produced imagery, produced work that was generally more bold and aggressive. [10] Roy Lichtenstein, Drowning Girl, 1963, on display at the Museum of Modern Art, New York. Another well-known pop artist was Roy Lichtenstein. His paintings and prints looked just like comic strips, including his most well-known work entitled Whaam!

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The paintings of Lichtenstein, like those of Andy Warhol, Tom Wesselmann and others, share a direct attachment to the commonplace image of American popular culture, but also treat the subject in an impersonal manner clearly illustrating the idealization of mass production. [10] Contemporary of American Pop Art—often conceived as its transposition in France—new realism was along with Fluxus and other groups one of the numerous tendencies of the avant-garde in the 1960s. The group initially chose Nice, on the French Riviera, as its home base since Klein and Arman both originated there; new realism is thus often retrospectively considered by historians to be an early representative of the École de Nice [ fr] movement. [46] In spite of the diversity of their plastic language, they perceived a common basis for their work; this being a method of direct appropriation of reality, equivalent, in the terms used by Restany; to a "poetic recycling of urban, industrial and advertising reality". [47] Spain [ edit ] Tadanori Yokoo: ADC • Global Awards & Club". Adcglobal.org. 27 June 1936 . Retrieved 30 December 2015.

By contrast, the origins of pop art in post-War Britain, while employing irony and parody, were more academic. Britain focused on the dynamic and paradoxical imagery of American pop culture as powerful, manipulative symbolic devices that were affecting whole patterns of life, while simultaneously improving the prosperity of a society. [6] Early pop art in Britain was a matter of ideas fueled by American popular culture when viewed from afar. [4] Similarly, pop art was both an extension and a repudiation of Dadaism. [4] While pop art and Dadaism explored some of the same subjects, pop art replaced the destructive, satirical, and anarchic impulses of the Dada movement with a detached affirmation of the artifacts of mass culture. [4] Among those artists in Europe seen as producing work leading up to pop art are: Pablo Picasso, Marcel Duchamp, and Kurt Schwitters. Dutch Pop Art & The Sixties – Weg met de vertrutting!". 8weekly.nl. 28 July 2005 . Retrieved 30 December 2015.Pop art is an art movement that emerged in the United Kingdom and the United States during the mid- to late- 1950s. [1] [2] The movement presented a challenge to traditions of fine art by including imagery from popular and mass culture, such as advertising, comic books and mundane mass-produced objects. One of its aims is to use images of popular culture in art, emphasizing the banal or kitschy elements of any culture, most often through the use of irony. [3] It is also associated with the artists' use of mechanical means of reproduction or rendering techniques. In pop art, material is sometimes visually removed from its known context, isolated, or combined with unrelated material. [2] [3] Six painters and the object. Lawrence Alloway [curator, conceived and prepared this exhibition and the catalogue] (Computer file). 24 July 2009. OCLC 360205683. Selz, Peter (moderator); Ashton, Dore; Geldzahler, Henry; Kramer, Hilton; Kunitz, Stanley and Steinberg, Leo (April 1963) "A symposium on Pop Art" Arts Magazine, pp.36–45. Transcript of symposium held at the Museum of Modern Art on December 13, 1962. Yayoi Kusama interview – Yayoi Kusama exhibition". Timeout.com. 30 January 2013 . Retrieved 30 December 2015.

Lawrence Alloway, "The Arts and the Mass Media," Architectural Design & Construction, February 1958. Origins [ edit ] Charles Demuth, I Saw the Figure 5 in Gold 1928, collection of the Metropolitan Museum of Art, New York City Donald Factor, the son of Max Factor Jr., and an art collector and co-editor of avant-garde literary magazine Nomad, wrote an essay in the magazine's last issue, Nomad/New York. The essay was one of the first on what would become known as pop art, though Factor did not use the term. The essay, "Four Artists", focused on Roy Lichtenstein, James Rosenquist, Jim Dine, and Claes Oldenburg. [36]I was a Rich Man's Plaything', Sir Eduardo Paolozzi". Tate. 10 December 2015 . Retrieved 30 December 2015. Philadelphia Museum of Art Wins Fight with Facebook over Racy Pop Art Painting". artnet.com. 11 February 2016 . Retrieved 17 January 2020.