2. Richard Hamilton
Just what is it that makes
today’s homes so different,
so appealing?
1956
Collage on paper
10-1⁄4 × 9-3⁄4”
Kunsthalle Tübingen
Sammlung Zundel
[Fig. 19-01]
3. Peter Blake
On the Balcony
1955–57
Oil on canvas
47-3⁄4 × 35-3⁄4”
Tate, London
[Fig. 19-03]
4. R. B. Kitaj
The Autumn of Central
Paris (After Walter
Benjamin)
1972–73
Oil on canvas
60 × 60”
Private collection
[Fig. 19-04]
8. Jasper Johns
Flag
1954–55
(dated 1954 on
reverse)
Encaustic oil and
collage on fabric
mounted on plywood
42-1⁄4 × 60-5⁄8”
Museum of Modern Art
New York
[Fig. 19-11]
10. Allan Kaprow
Household
1964
A Happening featuring
women licking
strawberry jam off a car
presented for Festival of
Contemporary Arts at
the city dump, Ithaca,
New York
[Fig. 19-17]
11. George Segal
The Diner
1964–66
Plaster, wood,
chrome, laminated
plastic, Masonite,
fluorescent lamp,
glass, and paper
8’ 6” × 9’ × 7’ 3”
Walker Art Center,
Minneapolis
12. Claes Oldenburg
seated in The
Store
107 East 2nd
Street, New
York, December
1961
Collection the
artist
[Fig. 19-22]
13. Claes Oldenburg
Proposed Colossal Monument for
Park Avenue
New York: Good Humor bar
1965
Crayon and watercolor on paper
23-1⁄2 × 17-1⁄2”
Collection of Carroll Janis New
York
[Fig. 19-25]
Richard Hamilton, Just what is it that makes today’s homes so different, so appealing?, 1956. Collage on paper, 10-1⁄4 × 9-3⁄4” (26 × 24.8 cm). Kunsthalle Tübingen, Sammlung Zundel. [Fig. 19-01]
Peter Blake, On the Balcony, 1955–57. Oil on canvas, 47-3⁄4 × 35-3⁄4” (121.3 × 90.8 cm). Tate, London. [Fig. 19-03]
R. B. Kitaj, The Autumn of Central Paris (After Walter Benjamin), 1972–73. Oil on canvas, 60 × 60” (152.5 × 152.5 cm). Private collection. [Fig. 19-04]
Cy Twombly, Untitled, 1969. Crayon and oil on canvas, 6’ 6” × 8’ 7” (2 × 2.6 m). The Whitney Museum of American Art, New York. [Fig. 19-16]
Allan Kaprow, Household, 1964. A Happening featuring women licking strawberry jam off a car, presented for Festival of Contemporary Arts at the city dump, Ithaca, New York. Research Library, Getty Research Institute, Los Angeles. [Fig. 19-17]
Claes Oldenburg seated in The Store, 107 East 2nd Street, New York, December 1961. Collection the artist. [Fig. 19-22]
Claes Oldenburg, Proposed Colossal Monument for Park Avenue, New York: Good Humor bar, 1965. Crayon and watercolor on paper, 23-1⁄2 × 17-1⁄2” (59.7 × 44.5 cm). Collection of Carroll Janis, New York. [Fig. 19-25]
Jim Dine, Double Isometric Self-Portrait (Serape), 1964. Oil with metal rings and hanging chains on canvas, 4’ 8-7⁄8” × 7’ 1⁄2” (1.5 × 2.14 m). Whitney Museum of American Art, New York. [Fig. 19-27]
Roy Lichtenstein, Whaam!, 1963. Oil and Magna on two canvas panels, 5’ 8” × 13’ 4” (1.7 × 4.1 m). Tate, London. [Fig. 19-35]
Andy Warhol, Marilyn Monroe, 1962. Silkscreen ink on synthetic oil, acrylic, and silkscreen enamel on canvas, 20 × 16” (50.8 × 40.6 cm). [Fig. 19-40]
![Richard Hamilton
Just what is it that makes
today’s homes so different,
so appealing?
1956
Collage on paper
10-1⁄4 × 9-3⁄4”
Kunsthalle Tübingen
Sammlung Zundel
[Fig. 19-01]](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)