The document lists several American pop artists from the 1960s including Andy Warhol, James Rosenquist, and Roy Lichtenstein. It provides information on some of their most famous works such as Andy Warhol's Campbell's Soup Cans, Kiss, and Mao paintings as well as James Rosenquist's F-111 and President Elect works and Roy Lichtenstein's Drowning Girl and Girl with Ball paintings. The document appears to be cataloging major pop art pieces made in the 1960s and their artists.
The document lists several American pop artists from the 1960s including Andy Warhol, James Rosenquist, and Roy Lichtenstein. It provides information on some of their most famous works such as Andy Warhol's Campbell's Soup Cans, Kiss, and Mao paintings as well as James Rosenquist's F-111 and President Elect works and Roy Lichtenstein's Drowning Girl and Girl with Ball paintings. The document appears to be cataloging major pop art pieces made in the 1960s and their artists.
The document lists several American pop artists from the 1960s including Andy Warhol, James Rosenquist, and Roy Lichtenstein. It provides information on some of their most famous works such as Andy Warhol's Campbell's Soup Cans, Kiss, and Mao paintings as well as James Rosenquist's F-111 and President Elect works and Roy Lichtenstein's Drowning Girl and Girl with Ball paintings. The document appears to be cataloging major pop art pieces made in the 1960s and their artists.
The document lists several pop art works from the 1960s by American artists Roy Lichtenstein, Tom Wesselmann, Claes Oldenburg, and George Segal. It includes Lichtenstein's comic book-inspired paintings Whaam! and Little Big Painting, as well as his mirror piece Mirror #1. Works by Tom Wesselmann include his collage Still Life No. 12 and painting Great American Nude No. 57. Claes Oldenburg is represented by his storefront installation The Store, collage Underwear, and glass and enamel sculpture Pastry Case. Oldenburg also created the installation Floor Cake. George Segal is known for his plaster sculptures The Diner and Parking Garage.
The document lists several American pop artists from the 1960s including Andy Warhol, James Rosenquist, and Roy Lichtenstein. It provides information on some of their most famous works such as Andy Warhol's Campbell's Soup Cans, Kiss, and Mao paintings as well as James Rosenquist's F-111 and President Elect works and Roy Lichtenstein's Drowning Girl and Girl with Ball paintings. The document appears to be cataloging major pop art pieces made in the 1960s and their artists.
This document provides an overview of key artists and works from the Pop Art movement from the 1950s-1960s. It includes brief descriptions and information on artworks by Richard Hamilton, Eduardo Paolozzi, Jasper Johns, Robert Rauschenberg, and Andy Warhol that helped establish Pop Art as a new genre focused on mass production and popular culture. The works incorporate techniques like collage, silkscreening, and incorporate everyday objects and imagery from advertisements, celebrities, and product branding into fine art.
The document lists several pop art works from the 1960s by American artists Roy Lichtenstein, Tom Wesselmann, Claes Oldenburg, and George Segal. It includes Lichtenstein's comic book-inspired paintings Whaam! and Little Big Painting, as well as his mirror piece Mirror #1. Works by Tom Wesselmann include his collage Still Life No. 12 and painting Great American Nude No. 57. Claes Oldenburg is represented by his storefront installation The Store, collage Underwear, and glass and enamel sculpture Pastry Case. Oldenburg also created the installation Floor Cake. George Segal is known for his plaster sculptures The Diner and Parking Garage.
The document lists several American pop artists from the 1960s including Andy Warhol, James Rosenquist, and Roy Lichtenstein. It provides information on some of their most famous works such as Andy Warhol's Campbell's Soup Cans, Kiss, and Mao paintings as well as James Rosenquist's F-111 and President Elect works and Roy Lichtenstein's Drowning Girl and Girl with Ball paintings. The document appears to be cataloging major pop art pieces made in the 1960s and their artists.
This document provides an overview of key artists and works from the Pop Art movement from the 1950s-1960s. It includes brief descriptions and information on mediums for works by Richard Hamilton, Eduardo Paolozzi, Jasper Johns, Robert Rauschenberg, and Andy Warhol. Some of the highlighted works include Richard Hamilton's "Just what is it that makes today’s homes so different, so appealing?" (1956), Jasper Johns' "Flag" (1954-55), Robert Rauschenberg's "Bed" (1955) and "Monogram" (1959), and Andy Warhol's "Marilyn Diptych" (1962).
Bridget Riley and Agam are artists mentioned in the document. The document provides no other details about these artists or their work. It only lists two names without any other context.
Victor Vasarely (1906-1997) was a Hungarian-born artist and is considered one of the founders of op art. Op art uses optical illusions and visual tricks to create the impression of movement, flashing and vibration on a flat canvas. Vasarely's work from the 1950s and 1960s helped popularize op art and brought attention to how visual perception can be manipulated through use of pattern, contrast and optical illusion. His paintings and sculptures made use of basic geometric shapes arranged in repetitive, mesmerizing patterns to play tricks on the eye and create the illusion of three dimensions or movement.
Victor Vasarely (1906-1997) was a Hungarian-born artist and is considered one of the founders of Op Art. Op Art, which is short for optical art, uses visual illusions and geometric forms to create the impression of movement, shining, pulsing, or vibrating patterns or alternating color combinations. Vasarely's work from the 1950s onward helped establish the Op Art movement, with his use of basic geometric shapes and strong colors that play tricks on the eye. He created the illusion of three dimensions on a flat surface through his innovative use of color and form.
2. POČETAK HRVATSKE MODERNE
• Josip Račić (1885 – 1908 )
• Miroslav Kraljević (1885 – 1913)
• Vladimir Becić (1885 – 1954)
• Oskar Herman (1885 – 1974)
3. Die Kroatische Schule
Münchenska Akademija 1905 – 1910
• Prekid sa srednjoeuropskim tradicijama i usvajanje
zasada modernog francuskog slikarstva
• Kulturni projekt koji odbacuje secesiju, simbolizam i
akademizam
• Utjecaj Maneta, Cezannea, Goye i Halsa
4. STIL
• Plastičnost
• Pojednostavljeni volumeni
• Oblike doživljavaju masama
• Točan crtež, široki potezi kistom
• Tonska modelacija – monokromija
• Statičnost
• Antinarativnost
• Bez detalja
5. Josip Račić
• Tonsko slikarstvo – tonsko graĎenje volumena
• Utjecaj: Velasqueza, Rembranta, Maneta
• Ističe važnost plenearizma
• 1908. godine odlazi u Pariz gdje provodi
zadnja četiri mjeseca života radeći akvarele s
prikazima pariških mostova
• NaĎen je ustreljen u hotelskoj sobi
11. Miroslav Kraljević
• Realistički pristup, tonska gradnja volumena,
plastičnost
• Boja igra veću ulogu nego li kod Račića
• Secesijske krivulje i arabeske vode ga do
ekspresionizma, do plošnosti, preuveličanih i
izobličenih formi i lica-maski
17. Vladimir Becić
• 1905. prekida studij prava i odlazi u Mücnhen;
u istoj klasi s Račićem na mücnhenskoj
Akademiji od 1906.
• 1909. odlazi u Pariz
• Za boravka u Parizu upoznao djela Maneta i
Cezannea i doživio evoluciju na bazi
Cezanneova načina u pristupu paleti
23. Oskar Herman
• Nije krenuo linijom Manet - Cezanne, već je
pod utjecajem Mareesa, a kasnije
ekspresionizma; slikanje poobjektu, odsutnost
svake 'literature', jednostavan predmet i
zbit volumen
• pojednostavljenje forme; široki pastozni
potezi, dojam nedovršenosti; dinamičnost
postignuta potezom i bojom; teme: figure,
figuralne kompozicije i krajolici
