Dodatak skripti Umjetnost 20. stoljeća

8/7/2019 Dodatak skripti Umjetnost 20. stoljea

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Gospoice iz Avignona

Gospoice iz Avignona

Pablo Picasso,1907.

ulje na platnu

243.9 233.7 cm

Muzej moderne umjetnosti u NewYorkuNew York

Gospoice iz Avignona (francuski:Les Demoiselles d'Avignon) je revolucionarnoulje na

platnuPabla Picassa, koje je naslikao od lipnja do srpnja 1907. godine, a koje se smatraprvom kubistikom,avangardnom, i openito modernom slikom 20. stoljea[1]. S ovimprikazom pet enskih aktova s mrtvom prirodom Picasso je pokrenuo prostornu revoluciju uslikarstvu.

Povijest [uredi]

Picasso je nazvao ovu sliku pobordelu u Avignonskoj ulici (Carrer d'Avinyo) u Barceloni. Naranijim verzijama slike bili su prisutni i mornar koji sjedi i student medicine s lubanjom. Obalika su predstavljala samog umjetnika. Uklonivi ih iz finalne verzije, Picasso je promijeniosvoj likovni iskaz s osobnog na snanu mitsku sliku. Slika se danas nalazi u Muzeju moderneumjetnosti (MoMA) uNew Yorku, zahvaljujui Lillie P. Bliss Besquet.

Odlike [uredi]

Picasso je ovu sliku naslikao koncipirao u duhu ranijih umjetnikih tenji povijesti umjetnostiprikazavi tradicionalnu temu enskog akta [2]. ak to vie, poloaj figure s lijeve stranepodsjea na standardnu pozu egipatskihfaraona: lijeva noga je naprijed, a desna ruka jeispruena uz tijelo sa stisnutom pesnicom. Iz egipatske umjetnosti je takoer je posudio inain prikazivanja lica u profilu, a oka gledano sprijeda. Druge dvije figure koje dre rukeiznad glave su utemeljene prema tradicionalnim pozamaVenera. Na ovoj slici, Picasso je

napustio tradicionalni nain slikanja s kjaroskurom i zamijenio ga jefovistikim odvanimpotezima boje.
http://hr.wikipedia.org/wiki/Pablo_Picassohttp://hr.wikipedia.org/wiki/Pablo_Picassohttp://hr.wikipedia.org/wiki/1907.http://hr.wikipedia.org/wiki/1907.http://hr.wikipedia.org/wiki/Francuskihttp://hr.wikipedia.org/wiki/Ulje_na_platnuhttp://hr.wikipedia.org/wiki/Ulje_na_platnuhttp://hr.wikipedia.org/wiki/Ulje_na_platnuhttp://hr.wikipedia.org/wiki/Pablo_Picassohttp://hr.wikipedia.org/wiki/1907.http://hr.wikipedia.org/wiki/Kubizamhttp://hr.wikipedia.org/wiki/Avangardahttp://hr.wikipedia.org/wiki/Avangardahttp://hr.wikipedia.org/wiki/Gospo%C4%91ice_iz_Avignona#cite_note-0%23cite_note-0http://hr.wikipedia.org/w/index.php?title=Gospo%C4%91ice_iz_Avignona&action=edit&section=1http://hr.wikipedia.org/w/index.php?title=Gospo%C4%91ice_iz_Avignona&action=edit&section=1http://hr.wikipedia.org/w/index.php?title=Bordel&action=edit&redlink=1http://hr.wikipedia.org/wiki/Barcelonahttp://hr.wikipedia.org/wiki/MoMAhttp://hr.wikipedia.org/wiki/New_Yorkhttp://hr.wikipedia.org/wiki/New_Yorkhttp://hr.wikipedia.org/w/index.php?title=Gospo%C4%91ice_iz_Avignona&action=edit&section=2http://hr.wikipedia.org/w/index.php?title=Gospo%C4%91ice_iz_Avignona&action=edit&section=2http://hr.wikipedia.org/wiki/Gospo%C4%91ice_iz_Avignona#cite_note-1%23cite_note-1http://hr.wikipedia.org/wiki/Egipathttp://hr.wikipedia.org/wiki/Faraonhttp://hr.wikipedia.org/wiki/Faraonhttp://hr.wikipedia.org/wiki/Umjetnost_drevnog_Egiptahttp://hr.wikipedia.org/wiki/Venerahttp://hr.wikipedia.org/wiki/Venerahttp://hr.wikipedia.org/wiki/Kjaroskurohttp://hr.wikipedia.org/wiki/Fovizamhttp://hr.wikipedia.org/wiki/Fovizamhttp://hr.wikipedia.org/wiki/Datoteka:Picasso_-_Gospo%C4%91ice_iz_Avignona.JPGhttp://hr.wikipedia.org/wiki/1907.http://hr.wikipedia.org/wiki/Francuskihttp://hr.wikipedia.org/wiki/Ulje_na_platnuhttp://hr.wikipedia.org/wiki/Ulje_na_platnuhttp://hr.wikipedia.org/wiki/Pablo_Picassohttp://hr.wikipedia.org/wiki/1907.http://hr.wikipedia.org/wiki/Kubizamhttp://hr.wikipedia.org/wiki/Avangardahttp://hr.wikipedia.org/wiki/Gospo%C4%91ice_iz_Avignona#cite_note-0%23cite_note-0http://hr.wikipedia.org/w/index.php?title=Gospo%C4%91ice_iz_Avignona&action=edit&section=1http://hr.wikipedia.org/w/index.php?title=Bordel&action=edit&redlink=1http://hr.wikipedia.org/wiki/Barcelonahttp://hr.wikipedia.org/wiki/MoMAhttp://hr.wikipedia.org/wiki/New_Yorkhttp://hr.wikipedia.org/w/index.php?title=Gospo%C4%91ice_iz_Avignona&action=edit&section=2http://hr.wikipedia.org/wiki/Gospo%C4%91ice_iz_Avignona#cite_note-1%23cite_note-1http://hr.wikipedia.org/wiki/Egipathttp://hr.wikipedia.org/wiki/Faraonhttp://hr.wikipedia.org/wiki/Umjetnost_drevnog_Egiptahttp://hr.wikipedia.org/wiki/Venerahttp://hr.wikipedia.org/wiki/Kjaroskurohttp://hr.wikipedia.org/wiki/Fovizamhttp://hr.wikipedia.org/wiki/Pablo_Picasso


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Od svih figura, lica ene koja sjedi i one krajnje desno su najoitije utemeljena na afrikimobrednim maskama. Drvene maske iz sredinje Afrike imaju iste izduene geometrijskekvalitete. Nosovi posebno podsjeaju na duge i zakrivljene rubove nosova s maski. No, poputmaski, Picassova lica su neprirodna i suprotstavljaju se klasinim idealima ljepote. Nos jezakrivljen u jednu stranu, dok su usta pomjerena na drugu. Kod dvije sredinje figure jedno

oko je blago pomaknuto iznad drugog, a nos nije odmah iznad usta, te su i ui asimetrine.

Najradikalniji prikaz tijela je na figuri koja sjedi, ili po nekima "koja ui". Ona odvanogleda izvan okvira slike dok istovremeno pomjera tijelo u suprotnom pravcu tako da su jojlice i lea vidljiva u istom trenutku. Na ovoj figuri Picasso je dokinuo tradiciju prikazivanja

prikazivanja s jedne toke gledita u korist vie-perspektivnog pogleda poput Czanneovihslika. Ovaj tzv. simultani pogled je postao presudnim vizualnim efektom kubizma.

Na ovoj slici Picasso je podijelio figure na geometrijske oblike jasnih rubova i otrih kutova.Oni se prostorno preklapaju s oblicima iz pozadine u emu se gubi jasna granica izmeu

planova. Ovakvo izobliavanje ljudskih figura je uznemirujue jer napada anatomski integritet

ljudskog tijela. Svjetlo je, poput oblika, iscjepkano kao da dolazi iz vie izvora, tako da sepromatraev pogled mora stalno pomjerati po slici. Upravo zbog ovakvog revolucionarnogpristupa prostoru i njegovoj psiholokoj snazi, Gospoice iz Avignona predstavljaju velikiizraajni izazov tradiciji, klasinom idealu ljepote i harmoniji koji postoje jo odrenesanse.

Biljeke [uredi]

1. Peter Plagens, lanak u Newsweeku:Koja je najutjecajnija slika u posljednjih 100 godina?, srpanj 2007. br. 9, str. 68.-69.2. Slika je zapravo produkt brojnih skica premaCzannovoj monumentalnoj slici "Kupaice", poput Matissoveslike "Radost

ivota", kojoj je ova slika bila direktna konkurencija.

Henri Laurensje bio kubistiki kipar, koji je izlagao zajedno s Picassom i Braqueom. Radio je i postere ikolae, kao i grafike te ilustracije za knjige. Na grobu mu se nalazi vlastita skulptura Tuga.

Rymnond Duchamp Villonje bio kubistiki kipar i brat Marcela Duchampa. Najpoznatija skulptura mu je konj iz 1914.(Read, 120). Umro je od panjolske groznice 1918.
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Guernica (Picasso)

Guernica

Pablo Picasso,1937.

ulje na platnu

349 777 cm

Muzej Reina Sofia,Madrid

Guernica je slika Pabla Picassaiz 1937. god. koja je inspirirana dogaajem iz panjolskoggraanskog rata(1936.-1939.); remek-djelo koje je izlagano irom svijeta, postajui poznata iiroko prihvaeno kao vjeiti podsjetnikratnih tragedija, antiratnisimbol i olienjemira.

Povijest [uredi]U travnju 1937. god. Francovinacistikisaveznici (njemaki luftwafe) su izveli katastrofalno nasumino bombardiranjegradiaGuernike u kojem su stradali samo neduni civili. U protestu protiv ovog neljudskog ina Picasso je naslikao"Guernicu".

Slika je uraena za veliku svjetsku izlobu uParizu1937. god. na kojoj su dominirala alegorijska djela nacistike i sovjetskepropagande, i bila je jedino djelo koje odudaralo od ovihsoc-realistinih djela.

Picasso je odbijao da smjesti ovu sliku u panjolskojsve dok se u njoj ponovno ne uspostavidemokratska vladavina, te jeslika 19 godina putovala svijetom te postala "platno o kojem se najvie govorilo", neprestano izazivajui debate o politikimnamjerama, kulturnom znaenju i estetskim vrijednostima. Naposljetku je 1958. god. posuenaMuzeju moderne umjetnosti uNew Yorku. Tek1981. god., nakon svrgavanjafaistike uprave, slika je izloena uMadridugdje se nalazi i danas.

Odlike [uredi]
http://hr.wikipedia.org/wiki/Pablo_Picassohttp://hr.wikipedia.org/wiki/1937.http://hr.wikipedia.org/wiki/1937.http://hr.wikipedia.org/w/index.php?title=Muzej_Reina_Sofia&action=edit&redlink=1http://hr.wikipedia.org/wiki/Madridhttp://hr.wikipedia.org/wiki/Madridhttp://hr.wikipedia.org/wiki/Pablo_Picassohttp://hr.wikipedia.org/wiki/Pablo_Picassohttp://hr.wikipedia.org/wiki/1937.http://hr.wikipedia.org/wiki/%C5%A0panjolski_gra%C4%91anski_rathttp://hr.wikipedia.org/wiki/%C5%A0panjolski_gra%C4%91anski_rathttp://hr.wikipedia.org/wiki/%C5%A0panjolski_gra%C4%91anski_rathttp://hr.wikipedia.org/wiki/1936.http://hr.wikipedia.org/wiki/1939.http://hr.wikipedia.org/wiki/Rathttp://hr.wikipedia.org/wiki/Rathttp://hr.wikipedia.org/wiki/Simbolhttp://hr.wikipedia.org/wiki/Simbolhttp://hr.wikipedia.org/wiki/Mirhttp://hr.wikipedia.org/wiki/Mirhttp://hr.wikipedia.org/w/index.php?title=Guernica_(Picasso)&action=edit&section=1http://hr.wikipedia.org/w/index.php?title=Guernica_(Picasso)&action=edit&section=1http://hr.wikipedia.org/wiki/Francisco_Francohttp://hr.wikipedia.org/wiki/Nacizamhttp://hr.wikipedia.org/wiki/Nacizamhttp://hr.wikipedia.org/wiki/Nacizamhttp://hr.wikipedia.org/w/index.php?title=Guernika&action=edit&redlink=1http://hr.wikipedia.org/w/index.php?title=Guernika&action=edit&redlink=1http://hr.wikipedia.org/wiki/Parizhttp://hr.wikipedia.org/wiki/Parizhttp://hr.wikipedia.org/wiki/Parizhttp://hr.wikipedia.org/wiki/Socrealizamhttp://hr.wikipedia.org/wiki/Socrealizamhttp://hr.wikipedia.org/wiki/%C5%A0panjolskahttp://hr.wikipedia.org/wiki/%C5%A0panjolskahttp://hr.wikipedia.org/wiki/Demokracijahttp://hr.wikipedia.org/wiki/Demokracijahttp://hr.wikipedia.org/wiki/1958.http://hr.wikipedia.org/wiki/MoMAhttp://hr.wikipedia.org/wiki/MoMAhttp://hr.wikipedia.org/wiki/New_Yorkhttp://hr.wikipedia.org/wiki/1981.http://hr.wikipedia.org/wiki/Fa%C5%A1izamhttp://hr.wikipedia.org/wiki/Fa%C5%A1izamhttp://hr.wikipedia.org/wiki/Madridhttp://hr.wikipedia.org/wiki/Madridhttp://hr.wikipedia.org/wiki/Madridhttp://hr.wikipedia.org/w/index.php?title=Guernica_(Picasso)&action=edit&section=2http://hr.wikipedia.org/wiki/Datoteka:Picasso_-_Guernica.JPGhttp://hr.wikipedia.org/wiki/Pablo_Picassohttp://hr.wikipedia.org/wiki/1937.http://hr.wikipedia.org/w/index.php?title=Muzej_Reina_Sofia&action=edit&redlink=1http://hr.wikipedia.org/wiki/Madridhttp://hr.wikipedia.org/wiki/Pablo_Picassohttp://hr.wikipedia.org/wiki/1937.http://hr.wikipedia.org/wiki/%C5%A0panjolski_gra%C4%91anski_rathttp://hr.wikipedia.org/wiki/%C5%A0panjolski_gra%C4%91anski_rathttp://hr.wikipedia.org/wiki/1936.http://hr.wikipedia.org/wiki/1939.http://hr.wikipedia.org/wiki/Rathttp://hr.wikipedia.org/wiki/Simbolhttp://hr.wikipedia.org/wiki/Mirhttp://hr.wikipedia.org/w/index.php?title=Guernica_(Picasso)&action=edit&section=1http://hr.wikipedia.org/wiki/Francisco_Francohttp://hr.wikipedia.org/wiki/Nacizamhttp://hr.wikipedia.org/w/index.php?title=Guernika&action=edit&redlink=1http://hr.wikipedia.org/wiki/Parizhttp://hr.wikipedia.org/wiki/Socrealizamhttp://hr.wikipedia.org/wiki/%C5%A0panjolskahttp://hr.wikipedia.org/wiki/Demokracijahttp://hr.wikipedia.org/wiki/1958.http://hr.wikipedia.org/wiki/MoMAhttp://hr.wikipedia.org/wiki/New_Yorkhttp://hr.wikipedia.org/wiki/1981.http://hr.wikipedia.org/wiki/Fa%C5%A1izamhttp://hr.wikipedia.org/wiki/Madridhttp://hr.wikipedia.org/w/index.php?title=Guernica_(Picasso)&action=edit&section=2


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U ovoj monumentalnoj slici Picasso je kombinirao odlike analitikog i sintetikogkubizma s nekoliko tradicionalnih motiva

koji su posloeni na novi,nadrealistiki, nain. (Meu prvim njegovim nadrealistikim radovima (takva su ve licaGospoica) je Raspee iz 1930. koje je diraktan prethodnik Guernice, a ima i expresionistike elemente) Naoiglednepovezani motivi su ujedinjeni zajednikim izoblienjima i snagom poruke. Kubistiki geometrijski oblici i otri kutoviprevladavaju na slici. Picassova odlika da geometrijski pojednostavi likove je ovdje u ulozi fizikih ratnih rana. Oi suzavrnute i buljave, ui i nosevi su blago izmjeteni, jezici su oblikovani kao noevi, a dlanovi i stopala su odrezani. Svaki dioljudskog tijela je podloen napadu i sakaenju.

Kompozicijaje u ulozi politike poruke slike, snanog protesta protiv okrutnosti rata i tiranije. U skladu s temom smrti iumiranja, slika je skoro liena boja i sastoji se samo od nekoliko sivih tonova. Odsutnostbojanaglaava novinarsku(novinsku) kvalitetu slike u elji da podsjeti kako je vijest o bombardiranju sablaznila cijeli svijet. Guernica je podijeljena natri kompozicijska dijela, ime podsjea na narativne kompozicijepoliptiha iz srednjeg vijekai renesanse. Likovi se nalaze usredinjem trokutu, te u dva krnja kvadrata s obje njegove strane. Osnova trokuta se protee od ispruene ruke izoblienog iobezglavljenog vojnika s lijeve strane do stopala ene u bijegu na desnoj strani. Umirui konj predstavlja smrt civilizacije, nonada za spas postoji u ispruenoj ruci s lampom koju nosi djevojka (simbol slobode). Jo jedan simbol nade, kao i pobjederazuma, javlja se u motivu koji je nastao spajanjem oka i svjetlosnih zraka iz arulje, a nalazi se iznad konjske glave.

Na desnoj strani poza pokoene djevojke podsjea na Kristovo raspee, dok je ena s djetetom na lijevoj strani u poziPiete(OplakivanjeKrista). U sjeni, iza ene, izviruje sablasni likMinotaura, udovinog tiranina iz drevneKrete, ije su ljudskeosobine plone oi i lice. Za Picassa, Minotaur je postao simbolom moderne tiranije koju je utjelovljavao diktatorFrancisco

Franco, te njegovi bliski suradnici Adolf HitleriBenito Mussolini.

Utjecaj [uredi]

Po zavretku, Guernica postala simbolom napredne, socijalno-politiki nadahnute umjetnosti. Izravna i ivopisna u svomizriaju, avangardnog duha, predstavljala je antitezu vladajuim konzervativnim stilovima politike umjetnosti koji su vladaliufaistikim ikomunistikim dravama. Slika je primjer Picassova uvjerenja kako je slikarima povjerena povijesna zadaada pripomognu oblikovati demokratsku graansku svijest i slijedili su je i brojni drugi umjetnici kaoRenato Guttuso,Armando Pizzinatoi dr. Ispred ulaza uVijee sigurnostiUN-a[1] u zgradi UN-a u New Yorku se nalazi tapiserija koja jereprodukcija Guernice. Snaga poruke koju nosi dola je ponovno do izraaja u nedavnim dogaajima. Naime, kad se amerikidravni tajnikColin Powell pojavio pred ujedinjenim narodima5. veljae2005.god. kako bi iznio daIrakne udovoljavazahtjevima UN-a o razoruanju, te da je prijetnja, prekrivena je Guernica u njegovoj pozadini. U UN-u su to objasnili time daje plava zavjesa bolja pozadina za kamere koje su snimale konferencije za novinare i govore, no mnogi su bili uvjereni da suAmerikanci izvrili pritisak na UN da prekrije tapiseriju dok Powell najavljuje agresiju na Irak. Meu kritiarima tog ina

pisalo je da ako bude rata u Iraku, prva rtva je ve pala umjetnost.

Biljeke [uredi]

1. Ispred slike se uvijek odravaju konferencije za novinare.

Ossip Zadkine

Zadkine's well-known sculpture "The Destroyed City" (De Verwoeste Stad) in Rotterdam
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Ossip Zadkine (Russian: ; July 14, 1890 November 25, 1967) was a Russian-born artist who lived inFrance.He is primarily known as a sculptor, but also producedpaintings andlithographs.

Zadkine was born as Yossel Aronovich Tsadkin (Russian: ) inVitebsk,Belarus, then part of theRussian Empire. His father was Jewish; his mother was ofScottishancestry.

After attending art school inLondon, Zadkine settled in Paris about 1910. There he became part of the new Cubistmovement(1914-1925). He later developed his own style, one that was strongly influenced byAfricanart.

Zadkine served as a stretcher-bearer in the French Army during World War I, and was wounded in action. He spent theWorld War II years inAmerica. His best-known work is probably the sculpture "The Destroyed City" (1951-1953),represents a man without a heart, a memorial tothe destruction of the center of the Dutch city Rotterdam in 1940by theGermanLuftwaffe.[1]

CollageA collage (From the French: coller, to glue) is a work of formal art, primarily in the visual arts, made from anassemblage of different forms, thus creating a new whole.

A collage may includenewspaper clippings,ribbons, bits of colored or hand-made papers, portions of otherartwork,photographsand otherfound objects, glued to a piece of paper or canvas. The origins of collage can betraced back hundreds of years, but this technique made a dramatic reappearance in the early 20th century as anartform of novelty.

The term collage derives from the French "coller" meaning "glue".[1] This term was coined by bothGeorgesBraque andPablo Picassoin the beginning of the 20th century when collage became a distinctive part ofmodernart.[2]

[edit] History

[edit] Early precedents

The technique of collage appeared inmedieval Europeduring the 13th century.Gold leafpanels started to beapplied in Gothic cathedralsaround the 15th and 16th centuries.Gemstones and otherprecious metals wereapplied to religious images, icons, and also, tocoats of arms.[3]

In the 19th century, collage methods also were used among hobbyists formemorabilia (i.e. applied tophotoalbums) and books (i.e. Hans Christian Andersen,Carl Spitzweg).[3]

[edit] Collage and modernism

Despite the pre-twentieth-century use of collage-like application techniques, some art authorities argue thatcollage, properly speaking, did not emerge until after 1900, in conjunction with the early stages of modernism.

For example, the Tate Gallery's online art glossary states that collage "was first used as an artists' technique inthe twentieth century.".[4] According to theGuggenheim Museum's online art glossary, collage is an artisticconcept associated with the beginnings of modernism, and entails much more than the idea of gluing somethingonto something else. The glued-on patches which Braque and Picasso added to their canvases offered a new

perspective on painting when the patches "collided with the surface plane of the painting."[5] In this perspective,collage was part of a methodical reexamination of the relation between painting and sculpture, and these newworks "gave each medium some of the characteristics of the other," according to the Guggenheim essay.Furthermore, these chopped-up bits of newspaper introduced fragments of externally referenced meaning intothe collision: "References to current events, such as the war in the Balkans, and to popular culture enriched thecontent of their art." This juxtaposition of signifiers, "at once serious and tongue-in-cheek," was fundamental to

the inspiration behind collage: "Emphasizing concept and process over end product, collage has brought theincongruous into meaningful congress with the ordinary."[5]
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[edit]Collage in painting

Collage in the modernist sense began with Cubist paintersGeorges Braqueand Pablo Picasso. According tosome sources, Picasso was the first to use the collage technique in oil paintings. According to theGuggenheimMuseum's online article about collage, Braque took up the concept of collage itself before Picasso, applying it tocharcoal drawings. Picasso adopted collage immediately after (and was perhaps indeed the first to use collage in

paintings, as opposed to drawings):

"It was Braque who purchased a roll of simulated oak-grain wallpaper and began cutting out pieces of the paperand attaching them to his charcoal drawings. Picasso immediately began to make his own experiments in thenew medium." [1]

In 1912 for his Still Life with Chair Caning (Nature-morte la chaise canne),[6] Picasso pasted a patch ofoilclothwith a chair-cane design onto the canvas of the piece.

Surrealistartists have made extensive use of collage.Cubomaniais a collage made by cutting an image intosquares which are then reassembled automatically or at random. Collages produced using a similar, or perhapsidentical, method are called etrcissementsbyMarcel Marin from a method first explored by Marin.Surrealist

gamessuch asparallel collage use collective techniques of collage making.

The Sidney JanisGallery held an earlyPop Art exhibit called theNew Realist Exhibition in November 1962,which included works by the American artistsTom Wesselmann, Jim Dine, Robert Indiana, Roy Lichtenstein,Claes Oldenburg,James Rosenquist, George Segal, and Andy Warhol; and Europeans such asArman, Baj,Christo,Yves Klein, Festa, Rotella,Jean Tinguely, and Schifano. It followed theNouveau Ralisme exhibitionat the Galerie Rive Droite in Paris, and marked the international debut of the artists who soon gave rise to whatcame to be called Pop Artin Britain and The United States andNouveau Ralismeon the European continent.Many of these artists used collage techniques in their work. Wesselmann took part in theNew Realistshow withsome reservations,[7] exhibiting two 1962 works: Still life #17and Still life #22.

Another technique is that ofcanvas collage, which is the application, typically with glue, of separately paintedcanvas patches to the surface of a painting's main canvas. Well known for use of this technique is British artistJohn Walkerin hispaintingsof the late 1970s, but canvas collage was already an integral part of the mixedmediaworks of such American artists asConrad Marca-Relli andJane Frankby the early 1960s. The intenselyself-critical Lee Krasneralso frequently destroyed her own paintings by cutting them into pieces, only to createnew works of art by reassembling the pieces into collages.

[edit] Collage with wood

The wood collage is a type that emerged somewhat later than paper collage. Kurt Schwitters beganexperimenting with wood collages in the 1920s after already having given up painting for paper collages.[2] The

principle of wood collage is clearly established at least as early as his 'Merz Picture with Candle', dating from themid to late 1920s[3][4].

It is also interesting to note that wood collage in a sense made its debut, indirectly, at the same time as papercollage, since (according to the Guggenheim online),Georges Braqueinitiated use of paper collage by cuttingout pieces of simulated oak-grain wallpaper and attaching them to his own charcoal drawings.[5] Thus, the ideaof gluing wood to a picture was implicitly there from the start, since the paper used in the very first papercollages was a commercial product manufactured to look like wood.

It was during a fifteen-year period of intense experimentation beginning in the mid 1940s that Louise Nevelsonevolved hersculptural wood collages, assembled from found scraps, including parts offurniture, pieces ofwooden crates or barrels, and architectural remnants like stair railings or moldings. Generally rectangular, verylarge, and painted black, they resemble gigantic paintings. Concerning Nevelson's Sky Cathedral(1958), theMuseum of Modern Art catalogue states, "As a rectangular plane to be viewed from the front, Sky Cathedralhasthe pictorial quality of a painting..."[8]Yet such pieces also present themselves as massive walls or monoliths,which can sometimes be viewed from either side, or even looked through.
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urrealist_techniques#%C3%89tr%C3%A9cissementshttp://en.wikipedia.org/wiki/Marcel_Mari%C3%ABnhttp://en.wikipedia.org/wiki/Surrealist_techniqueshttp://en.wikipedia.org/wiki/Surrealist_techniqueshttp://en.wikipedia.org/wiki/Sidney_Janishttp://en.wikipedia.org/wiki/Art_galleryhttp://en.wikipedia.org/wiki/Pop_Arthttp://en.wikipedia.org/wiki/Tom_Wesselmannhttp://en.wikipedia.org/wiki/Jim_Dinehttp://en.wikipedia.org/wiki/Robert_Indianahttp://en.wikipedia.org/wiki/Roy_Lichtensteinhttp://en.wikipedia.org/wiki/Claes_Oldenburghttp://en.wikipedia.org/wiki/James_Rosenquisthttp://en.wikipedia.org/wiki/George_Segal_(artist)http://en.wikipedia.org/wiki/Andy_Warholhttp://en.wikipedia.org/wiki/Armanhttp://en.wikipedia.org/wiki/Christohttp://en.wikipedia.org/wiki/Yves_Kleinhttp://en.wikipedia.org/wiki/Jean_Tinguelyhttp://en.wikipedia.org/wiki/Nouveau_R%C3%A9alismehttp://en.wikipedia.org/wiki/Parishttp://en.wikipedia.org/wiki/Pop_Arthttp://en.wikipedia.org/wiki/Nouveau_R%C3%A9alismehttp://en.wikipedia.org/wiki/Collage#cite_note-6%23cite_note-6http://en.wikipedia.org/wiki/Canvashttp://en.wikipedia.org/wiki/John_Walker_(painter)http://en.wikipedia.org/wiki/Paintingshttp://en.wikipedia.org/wiki/Mixed_mediahttp://en.wikipedia.org/wiki/Mixed_mediahttp://en.wikipedia.org/wiki/Conrad_Marca-Rellihttp://en.wikipedia.org/wiki/Jane_Frankhttp://en.wikipedia.org/wiki/Lee_Krasnerhttp://en.wikipedia.org/w/index.php?title=Collage&action=edit&section=5http://en.wikipedia.org/wiki/Kurt_Schwittershttp://www.kurt-schwitters.org/p,2650057,1.htmlhttp://www.peak.org/~dadaist/Art/candle.jpghttp://www.peak.org/~dadaist/Art/index.htmlhttp://en.wikipedia.org/wiki/Georges_Braquehttp://www.guggenheimcollection.org/site/concept_Collage.htmlhttp://en.wikipedia.org/wiki/Louise_Nevelsonhttp://en.wikipedia.org/wiki/Sculpturehttp://en.wikipedia.org/wiki/Furniturehttp://en.wikipedia.org/wiki/Museum_of_Modern_Arthttp://en.wikipedia.org/wiki/Collage#cite_note-7%23cite_note-7


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Much wood collage art is considerably smaller in scale, framed and hung as apaintingwould be. It usuallyfeatures pieces of wood, wood shavings, or scraps, assembled on a canvas (if there is painting involved), or on awooden board. Such framed, picture-like, wood-reliefcollages offer the artist an opportunity to explore thequalities of depth, natural color, and texturalvariety inherent in the material, while drawing on and takingadvantage of the language, conventions, and historical resonances that arise from the tradition of creating

pictures to hang on walls. The technique of wood collage is also sometimes combined with painting and other

media in a single work of art.

Frequently, what is called "wood collage art" uses only natural wood - such asdriftwood, or parts of found andunaltered logs, branches, sticks, or bark. This raises the question of whether such artwork is collage (in theoriginal sense) at all (see Collage and modernism). This is because the early, paper collages were generally madefrom bits of text or pictures - things originally made by people, and functioning or signifying in some culturalcontext. The collage brings these still-recognizable "signifiers" (or fragments of signifiers) together, in a kind ofsemiotic collision. A truncated wooden chair or staircasenewelused in a Nevelson work can also be considereda potential element of collage in the same sense: it had some original, culturally determined context. Unaltered,natural wood, such as one might find on a forest floor, arguably has no such context; therefore, the characteristiccontextual disruptions associated with the collage idea, as it originated with Braque and Picasso, cannot reallytake place. (Driftwood is of course sometimes ambiguous: while a piece of driftwood may once have been a

piece of worked wood - for example, part of a ship - it may be so weathered by salt and sea that its past

functional identity is nearly or completely obscured.)

[edit] Decoupage

Henri Matisse,Blue Nude II, 1952,gouachedcoupe, Pompidou Centre,ParisMain article: Decoupage

Decoupage is a type of collage usually defined as a craft. It is the process of placing a picture into an object fordecoration. Decoupage can involve adding multiple copies of the same image, cut and layered to add apparentdepth. The picture is often coated with varnish or some other sealant for protection.

In the early part of the 20th century, decoupage, like many other art methods, began experimenting with a lessrealistic and more abstract style. 20th century artists who produced decoupage works includePablo PicassoandHenri Matisse. Most famous are Matisse'sBlue Nude II.

There are many varieties on the traditional technique involving purpose made 'glue' requiring fewer layers (often5 or 20, depending on the amount of paper involved). Cutouts are also applied under glass or raised to give athree dimensional appearance according to the desire of the decouper. Currently decoupage is a popularhandicraft.
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The craft became known as dcoupage in France (from the verb dcouper, 'to cut out') as it attained greatpopularity during the 17th and 18th centuries. Many advanced techniques were developed during this time, anditems could take up to a year to complete due to the many coats and sandings applied. Some famous oraristocratic practitioners includedMarie Antoinette, Madame de Pompadour, andBeau Brummell. In fact themajority of decoupage enthusiasts attribute the beginning of decoupage to 17th century Venice. However it wasknown before this time in Asia.

The most likely origin of decoupage is thought to be East Siberianfunerary art.Nomadictribes would use cutout felts to decorate the tombs of their deceased. From Siberia, the practice came toChina, and by the 12thcentury, cut out paper was being used to decorate lanterns, windows, boxes and other objects. In the 17thcentury, Italy, especially in Venice, was at the forefront of trade with theFar Eastand it is generally thought thatit is through these trade links that the cut outpaperdecorations made their way into Europe.

[edit] Photomontage

Collage made from photographs, or parts of photographs, is called photomontage. Photomontage is the process

(and result) of making a composite photograph by cutting and joining a number of other photographs. Thecomposite picture was sometimes photographed so that the final image is converted back into a seamless

photographic print. The same method is accomplished today using image-editing software. The technique isreferred to by professionals as compositing.

Peter Blake,On the B Balcon, 19551957, collage

Richard Hamilton, John McHale,Just What Is It That Makes Todays Homes So Different, So Appealing? 1956,collage, (one of the earliest works to be considered Pop Art)

Just what is it that makes today's homes so different, so appealing? was created in 1956 for the catalogue of theThis Is Tomorrowexhibition inLondon,England in which it was reproduced in black and white. In addition, the

piece was used in posters for the exhibit.[9]Richard Hamilton has subsequently created several works in which hereworked the subject and composition of the pop art collage, including a 1992 version featuring a female

bodybuilder. Many artists have created derivative works of Hamilton's collage. P. C. Helm made a year 2000interpretation.[10]

Other methods for combining pictures are also called photomontage, such as Victorian "combination printing",

the printing from more than one negative on a single piece of printing paper (e.g. O. G. Rejlander, 1857), front-projection and computer montage techniques. Much as a collage is composed of multiple facets, artists also
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combine montage techniques.Romare Beardens (19121988) series of black and white "photomontageprojections" is an example. His method began with compositions of paper, paint, and photographs put on boards8 11 inches. Bearden fixed the imagery with an emulsion that he then applied with handroller. Subsequently,he enlarged the collages photographically.

The 19th century tradition of physically joining multiple images into a composite and photographing the results prevailed in press

photography and offset lithography until the widespread use ofdigital image editing. Contemporary photo editors in magazines now create"paste-ups" digitally.

Creating a photomontage has, for the most part, become easier with the advent of computer software such asAdobe Photoshop,Pixel imageeditor, andGIMP. These programs make the changes digitally, allowing for faster workflow and more precise results. They also mitigatemistakes by allowing the artist to "undo" errors. Yet some artists are pushing the boundaries of digital image editing to create extremelytime-intensive compositions that rival the demands of the traditional arts. The current trend is to create pictures that combine painting,theatre, illustration and graphics in a seamless photographic whole.

Though Le Corbusierand other architects used techniques that are akin to collage, collage as a theoretical concept only became widelydiscussed after the publication ofCollage City (1987) by Colin Rowe and Fred Koetter

Assemblage (art)

Robert Rauschenberg, Canyon, 1959, Assemblage: oil, housepaint, pencil, paper, fabric,metal, buttons, nails, cardboard, printed paper, photographs, wood, paint tubes, mirror string,

pillow & bald eagle on canvas,National Gallery of Art, Washington, DC.

Assemblage is an artistic process in which a three-dimensional artistic composition is madefrom putting together found objects.

The origin of the word (in its artistic sense) can be traced back to the early 1950s, whenJeanDubuffetcreated a series of collages of butterfly wings, which he titled assemblagesd'empreintes. However, bothMarcel Duchamp andPablo Picasso had been working withfound objects for many years prior to Dubuffet. They were not alone. Alongside Duchamp,the earliest woman artist to try her hand at assemblage wasElsa von Freytag-Loringhoven, theDada Baroness. In addition, one of the earliest and most prolific was Louise Nevelson, who

began creating her exciting sculptures from found pieces of wood in the late 1930s.

In 1961, the exhibition "The Art of Assemblage" was featured at the New YorkMuseum of

Modern Art. The exhibition showcased the work of early twentieth century European artists
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such as Braque,Dubuffet, Marcel Duchamp,Picasso, and Kurt Schwitters alongsideAmericans Man Ray,Joseph Cornell and Robert Rauschenberg

Nadrealizam- ima korijene kod Boscha, Arcimbolda, Redona, Boecklina, Moraua, Rosseaua (San)

Man Ray: Poklon, 1921.

Marcel Duchamp obuen kao Rose Selavy, 1924.

Francis Bacon je roen u Irskaoj do roditelja Engleza. Bio je bolesno dijete(astma) , a njegov otac pokuava da "ojaa" premlaivanjem.Obitelj ga je odbacilakad je imao 17 godina i kad je otkrivena njegova homoseksualnost.Bacon je proveo nekoliko godina u Berlinu, zatim u Parizu, gdje je vodio boemski ivot.Vraa se u London gdje slika pod dojmom utjecajem nadrealizma, s kojim je doao u doticajza vrijeme boravka u Parizu 1927. godine. Picassove skice iz tog razdoblja odaju i uticajPicassa 1944. sam unitava veinu tih radova.Bacon je u velikoj mjeri samouki umjetnik. Meu njegovim utjecajima, prepoznajemo nesamo Picassa, nego i Velasqueza, Poussina i Rembrandta.1945 obiljeava svoj slubeni ulazak u svijet slikarstva djelom Tri studije za figure u

podnoju raspea. (Surrealism, 91). Rije je o nadrealistinom prikazu Zla koje je u mnogim

ljudima.Poetkom 1950-tih nastaje ciklus po Velasquezovom Inocentu X.U to vrijeme sprijateljio se i s Lucianom Freudom (kojeg portretira), te s njim i R. B. Kitajem(Ubojstvo Rose Luxemburg, 1960.) ini Londonsku kolu umjetnika koji ive u Londonu

Gerhard Richter

1961. bjei iz DDR-a na Zapad.

Sa Sigmarom Polkeom (takoer bjeguncem iz DDR-a) osniva kapitalistiku realizam,verziju

pop arta i kritiku konzumerizma, ali i soc-realizma. 1963. njih dvojica maju izlobu pod timnazivom u Duseldorfu. U to vrijeme dosta se bavi i fotomontaom.

Koncem 1960-tih i poetkom 1970-tih slika dva ciklusa sivih slika na kojima ne eli prikazatinita. To je odjek tekog razdoblja u njegovu ivotu.

1980-tih radi u stilu fotorealizma (Betty, 1988. sa naslovnice ELS, Movements since 1945.).

1988. nastaje i serija monokromnih platana u stilu fotorealizma raenog po fotografijama iznovina, kojima Richter problematizira izmiljena samoubojstva njemakih lijevih terorista uzatvoru, 18. 10. 1978. godine.
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Radi objekte i instalacije, ali i tradicionalne forme izriaja (2007. vitrai na srednjevjekovnojkatedrali u Kelnu u kojem ivi i radi) kao i apstrakciju (jo od sredine 1970-tih, esto nastaluuveavanjem realistinih detalja), to neki smatraju nedosljednou i nedostatkom stila. To jemalo vjerojatno. 2007. je imao izlobu u Umjetnikom paviljonu u Zagrebu.

Sigmar PolkePripadnik postmodernog realizma radovima se esto ismijavao potroakom drutvu i

poslijeratnoj politici. Volio je eksperimentirati i kritizirati, te je 1941. s trojicom njemakihumjetnika osnovao skupinu 'Kapitalistiki realizam'. Od 80-ih se poeo vie bavitifotografijom. Umro je u lipnju 2010. Vidjeti dolje tekst o njemu sa hrv. Wikipedije.

Sigmar PolkeIzvor: Wikipedija

Skoi na: orijentacija, trai

Sigmar Polke (Olenica,13. veljae, 1941. - Kln, 10. lipnja2010.), bio je jedan odnajznaajnijih njemakih slikara ifotografa 20. stoljea.

ivot i djelo [uredi]

Polkeova obitelj1945. bjei pred Crvenom armijom u Thuringiju (Istona Njemaka), a1953. najprije u ZapadniBerlin, a odatle uDsseldorf.

Polkea je ve kao mladia privukla umjetnost, te on, radei u tvornici stakla, esto posjeuje muzeje i galerije. S

dvadeset godina,1961. upisuje se na dsseldorfsku Akademiju, na kojoj u to doba predaje i Joseph Beuys.

ezdesete su doba velikog ekonomskog procvataZapadne Njemake, osobito Dsseldorfa, to se Polkea,prebjeglog pred komunistikim terorom i siromatvom, osobito dojmilo. Godine 1963.zajedno s GerhardomRichterom i Konradom Luegom zasniva kapitalistiki realizam - stilski pravac oprean svojem mnogo

poznatijem socijalistikom starijem bratu, kojeg ova trojica izgrauju na postignuima amerikogpop artaikonzumeristikoj doktrini kapitalizma. Sva trojica odmah potom organiziraju Demonstraciju za kapitalistikirealizam, koju provode u salonu namjetaja.

Izbijanjem rata u Vijetnamu, odnos europske inteligencije prema SAD-u se korjenito mijenja, to e imati odjekai u Polkeovu, te Richterovu opusu. Richter tako1966. slika ciklus pod nazivom Osam studentica, posveenmedicinskim sestrama koje su u Chicagu stradale kao rtve viestrukog ubojice. Aluzija na ameriko nasilje je

vie nego oita.

Iste godina nastaje Polkeovo ulje na platnuRaster-slika s palmama, u kojoj on viestruko ironizira svojedonedavne amerike uzore. Ta slika srednjih dimenzija prikazuje uveanu novinsku sliku sjevernoafrikog

pejzaa s palmama koja je toliko uveana da se jasno vidi njezin raster, koji je meutim dat nekako nejasno iiregularno, ba kao i boje koje odudaraju od boja u prirodi, a vjerojatno i od boja novinske fotografije koja je

posluila za osnovu slike. Polke je tako, kvarei likovna sredstva i teme Lichtensteina (raster), Hockneya(motiv palmi), iWarhola (sitotisak), najavio da e jedna od glavnih odlika itava njegova opusa biti ironiziranje.I doista, u radu Moderna umjetnostiz1968. on naprosto uveava jednu prilino nespretnu kompoziciju,reproduciranu u nekoj knjizi o modernoj umjetnosti, kojom kao da se nastoji distancirati od vremena i medija ukojem i sam djeluje.

Nekako istodobno, u Polkeovu opusu sve se vie osjea utjecaj dadaistaFrancisa Picabiae, ija su pozna djela

bila jadan od vanijih izvora cjelokupne pop umjetnosti. Tako nastaju brojna Polkeova narativna, vieslojna djelaproeta snolikim, halucinantnim ozrajem.
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Kao i njegov mlai zemljakAnselm Kiefer, Polke potkraj ezdesetih odluuje podsjetiti svoje sunarodnjake nanjihovu snishodljivost premanacistikoj vladavini. Tako nastaje djelo Vie sile su naredile: obojite gornji desniugao crno! I doista, Polke na platnu itko ispisuje navedenu zapovijed, i boji desni gornji ugao slike crno. I nesamo ugao, jer crna boja prelazi i na lijevu polovicu slike, aludirajui oito na polet i temeljitost mnogihnjegovih sunarodnjaka dok su izvravali crne naredbe viih sila. Druga pak Polkeova, kasnija djela sadreskrivene ili prebojane svastikei druge srodne simbole potisnute povijesti.

Poetkom sedamdesetih Polke poinje sudjelovati na skupnim izlobama njemakih neoekspresionista, ali se inida je smisao njegova sudjelovanja bio samo taj da bi ih ironizirao.

Od1977. do 1991. Polke predaje na Akademiji lijepih umjetnosti uHamburgu.

Umro je u Klnu, u 69. godini ivota.

Jim Dine

Izvor: WikipedijaSkoi na: orijentacija, trai

Jim Dine (Cincinnati, Ohio,16. lipnja,1935.), je amerikilikovni umjetnik.

ivot i djelo [uredi]

Jim Dine je, kao i Tom Wesselmann, pohaao Sveuilite u Cincinnatiju, ta kasnijeSveuilite u Ohiu.

U likovnom svijetuNew Yorka postao je zajedno s Claesom Oldemburgom, AllanomKaprowom i Johnom Cageom poznat po svojim happeninzima - javnim multimedijskimlikovnim dogaajima u kojima su promatrai bili izravno ukljueni u stvaralaki proces. Tispontani, kabaretu srodni dogaaji su likovnu umjetnost slobodno povezivali s razliitimmedijima:pjesnitvom, kazalitem, plesom i dr. Cilj je bio da gledatelj bude ukljuen, i daosjeti kreativnu energiju trenutka, to svakako valja povezati s ranijim htijenjima dadaizma inadrealizma, to u ozraju stalno rastueg otuenja i posvemanje automatizacije koja kao da

je zarazila i ljude (pa ak i umjetnike, to se opaa u opusu Franka Stelle), svakako neiznenauje. Dineov zacijelo najpoznatijiperformance nosio je nazivNasmijani radnikiodran je u Judson Memorial Church Gallery 1960. Trajao je svega 30 sekundi. Radilo se o

parodiji na umjetniki proces apstraktnih ekspresionista, u kojem je Dine ispio kantu crvenetekuine koje je predstavljala boju. Tako je sam umjetnik postao aktivni subjekt i objekt kojistvara djelo, te istovremeno i njegov kompozicijski element. Sline, za happeningod tadakanonske postulate, Dine je primijenio i u drugim svojim happeninzima, primjericeAutomobilskoj nesrei iz iste 1960. godine.

Tijekom ezdesetih Dine se vie okree slikarstvu. Veina njegovih dijela su asemblaikoncipirani slino onim Wesselmannovim: na veliku oslikanu plohu obino je apliciran nekitrodimenzionalni element (npr. djeja lampa na asemblau Djeji plavi zid iz 1960.), kojirazbija jasnu granicu izmeu slike i promatraa, karakteristinu za klasina djela slikarstva.

Tijekom osamdesetih, nezadovoljan pop izrazom, Dime se tematski okree prirodi.
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16. svibnja2008. u gradu Boras u vedskoj postavljena je Dineova devet metara visokabronana skulpturaPinokija. Dine je o tome rekao: Ideja da cjepanica koja govori postanedjeak svojevrsna je metafora umjetnosti, te konana alkemijska transformacija.

Na koncu, zanimljivo je napomenuti da je do istog zakljuka devrt godina prije Dinea, radei

na svojem ciklusu "Pinokijeva niska rezolucija", doao na poznati slikar i sveuiliniprofesorZlatko Keser.

Claes OldenburgIzvor: WikipedijaSkoi na: orijentacija, trai

Claes Oldenburg (Stockholm, 28. sijenja,1929.) je amerikilikovni umjetnik, vedskogpodrijetla.

ivotopis [uredi]

Oldenburg je sin vedskog diplomata koji se 1936.zajedno s obitelji nastanio uNew Yorku, da bi neto kasnijepreselio uChicago. Claes je studirao na Yaleu, te na Art Institute of Chichago. 1953.postaje ameriki

dravljanin, a 1956. odlazi u grad svojeg djetinjstva New York gdje susree Jima Dinea i Allana Kaprowa,zaetnike happeninga.

Tijekom ezdesetih Oldenburga ponajvie intrigira problem meuodnosa izmeu privatnog i javnog prostora,kao i brisanje granica izmeu umjetnosti i svakodnevnoga ivota, kao i izmeu publike i umjetnika. Tako 1960.nastaje instalacija Ulica, koju je Oldenburg postavio u newyorkoj Judson Memorial Church Gallery. Bila je tokaotina hrpa grubih antropomorfnih crtea na papiru pokupljenom s ulice. Ta instalacija, koja je osim zidovazauzimala i pod, asocirala je na kartonske nastambe u kojima ive kloari. I doista, u ciklusu happeninga Slikegrada iz iste godine, Oldenburg se u toj svojoj ambijentalnoj instalaciji, stvarno i pojavljivao preruen u kloara.

Tijekom zime 1961. 1962., Oldenburg je na dva mjeseca zakupio duanski prostor u jednoj od newyorkihulica s trgovinama jeftine robe. Tu je uredio svoj atelier, koji je odmah koncipirao kao duan. Police je ispuniogipsanim modelima hrane i odjee, koloriranim na tragu apstraktnog ekspresionizma, te ih ponudio na prodaju

po pristupanim cijenama. Radilo se zapravo o happeningu kojeg je Oldenburg izvodio pod pseudonimom RayGun. Oldenburg je nastojao ispitati kakav e biti odnos obinog ovjeka prema njegovim kreativnim modelima

predmeta iz svakidanjice. Doao je do zakljuka da su ih ljudi percipirati upravo onako kako se nadao: kaoskulpture, koje su u svojim domovima postavljali na nain na koji se to ini s klasinim skulpturama, te su ih akna slian nain unaprijed naruivali od umjetnika. Svoja iskustva s ovog maratonskog happeninga, kao i s onogSlike grada iz prethodne godine, Oldenburg je objavio 1967. u monografiji pod nazivom Store Days (Duanskidani). U njoj je meu ostalim zapisao: Duan je, kao i Ulica, ambijentalna forma. Na neki nain rije je o istojstvari, jer su neke ulice i trgovi zapravo duani na otvorenom. A duani su mjesta gdje se privatne elje preplius javnom sferom konzumacije.

Istom tematikom meuodnosa konzumacije, te javnog i privatnog prostora, Oldenburg se pozabavio u trimaambijentima pod nazivom Spavaa soba, koji predstavljaju vjerne kopije razliitih motelskih spavaih soba, koje

su Oldenburga tematski zaintrigirale tijekom njegova puta u Los Angeles 1963. 1964. Prema kritiaruLawrencu Allowayu, jednom od najboljih poznavateljapop arta, ti interijeri odraavaju fetiizam i higijenu
http://hr.wikipedia.org/wiki/2008.http://hr.wikipedia.org/wiki/2008.http://hr.wikipedia.org/wiki/%C5%A0vedskahttp://hr.wikipedia.org/wiki/Pinokiohttp://hr.wikipedia.org/wiki/Pinokiohttp://hr.wikipedia.org/w/index.php?title=Zlatko_Keser&action=edit&redlink=1http://hr.wikipedia.org/w/index.php?title=Zlatko_Keser&action=edit&redlink=1http://hr.wikipedia.org/wiki/Claes_Oldenburg#mw-head%23mw-headhttp://hr.wikipedia.org/wiki/Claes_Oldenburg#p-search%23p-searchhttp://hr.wikipedia.org/wiki/Stockholmhttp://hr.wikipedia.org/wiki/28._sije%C4%8Dnjahttp://hr.wikipedia.org/wiki/1929.http://hr.wikipedia.org/wiki/1929.http://hr.wikipedia.org/wiki/SADhttp://hr.wikipedia.org/wiki/SADhttp://hr.wikipedia.org/wiki/%C5%A0vedskahttp://hr.wikipedia.org/w/index.php?title=Claes_Oldenburg&action=edit&section=1http://hr.wikipedia.org/wiki/1936.http://hr.wikipedia.org/wiki/1936.http://hr.wikipedia.org/wiki/New_Yorkhttp://hr.wikipedia.org/wiki/New_Yorkhttp://hr.wikipedia.org/wiki/New_Yorkhttp://hr.wikipedia.org/wiki/Chicagohttp://hr.wikipedia.org/wiki/Chicagohttp://hr.wikipedia.org/wiki/Yalehttp://hr.wikipedia.org/wiki/1953.http://hr.wikipedia.org/wiki/1953.http://hr.wikipedia.org/wiki/Jim_Dinehttp://hr.wikipedia.org/w/index.php?title=Allan_Kaprow&action=edit&redlink=1http://hr.wikipedia.org/wiki/Pop_arthttp://hr.wikipedia.org/wiki/Pop_arthttp://hr.wikipedia.org/wiki/2008.http://hr.wikipedia.org/wiki/%C5%A0vedskahttp://hr.wikipedia.org/wiki/Pinokiohttp://hr.wikipedia.org/w/index.php?title=Zlatko_Keser&action=edit&redlink=1http://hr.wikipedia.org/wiki/Claes_Oldenburg#mw-head%23mw-headhttp://hr.wikipedia.org/wiki/Claes_Oldenburg#p-search%23p-searchhttp://hr.wikipedia.org/wiki/Stockholmhttp://hr.wikipedia.org/wiki/28._sije%C4%8Dnjahttp://hr.wikipedia.org/wiki/1929.http://hr.wikipedia.org/wiki/SADhttp://hr.wikipedia.org/wiki/%C5%A0vedskahttp://hr.wikipedia.org/w/index.php?title=Claes_Oldenburg&action=edit&section=1http://hr.wikipedia.org/wiki/1936.http://hr.wikipedia.org/wiki/New_Yorkhttp://hr.wikipedia.org/wiki/Chicagohttp://hr.wikipedia.org/wiki/Yalehttp://hr.wikipedia.org/wiki/1953.http://hr.wikipedia.org/wiki/Jim_Dinehttp://hr.wikipedia.org/w/index.php?title=Allan_Kaprow&action=edit&redlink=1http://hr.wikipedia.org/wiki/Pop_art


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amerikog naina ivota; rije je o monumentalnim ostvarenjima pop arta, fokusiranim na stvari, a ne na ljude,to je osobito znaajno jer se radi o spavaim sobama, tj. najintimnijim ljudskim prostorima.

Oldenburg je meutim irem krugu publike zacijelo najpoznatiji po svojim objektima koji prikazuju enormnouveane predmete iz svakidanjega ivota: telefone, bejzbol palice i sl. ili ogromne hamburgere, kornete zasladoled, kolae, prene krumpirie kako se prosipaju iz krnicla i sl. Oduevljen amerikim nainom ivota,

Oldenburg je tu svoju populistiku umjetnost definirao ovako: Ja sam za umjetnost donjeg rublja i umjetnosttaksija. Ja sam za umjetnost korneta za sladoled isputenih na beton. Ja sam za umjetnost pseeg izmeta koji sedie poput katedrale. Na tragu tih i takvih razmiljanja, Oldenburg je poglavarstvima mnogih amerikih ieuropskih gradova ponudio svoja spomenika rjeenja, koja su u poetku redovito bila ismijavana (poputnjegova prijedloga da se vaingtonski obelisk ukloni i da se na njegovu mjestu postavi nekoliko desetaka metaravisoki model kara), no neka od njih su kasnije ipak realizirana (poput njegova Palog korneta, postavljenog2001. na krov trgovakog centra uKlnu. Te monumentalne Oldenburgove skulpture zapravo su spomenicikonzumerizmu i konceptu potroakog drutva u cjelini, te njihov autor smatra da bi takvi spomenici trebalizamijeniti konjanike i druge klasine spomenike s gradskih ulica i trgova.

Post-painterly Abstraction

Post-painterly abstraction is a term created byart criticClement Greenberg as the title foran exhibit he curated for the Los Angeles County Museum of Art in 1964, whichsubsequently travelled to theWalker Art Centerand the Art Gallery of Toronto.

Greenberg had perceived that there was a new movement in painting that derived from theabstract expressionism of the 1940s and 1950s but "favored openness or clarity" as opposed tothe dense painterly surfaces of that painting style. The 31 artists in the exhibition includedWalter Darby Bannard,Jack Bush,Gene Davis,Thomas Downing, Friedel Dzubas, PaulFeeley, Sam Francis,Helen Frankenthaler, Al Held, Ellsworth Kelly,Nicholas Krushenick,Alexander Liberman,Morris Louis, Arthur Fortescue McKay, Howard Mehring,Kenneth

Noland,Jules Olitski, Ray Parker, David Simpson, Albert Stadler,Frank Stella, Mason Wells,Emerson Woelffler, and a number of other American and Canadian artists who werebecoming well known in the 1960s. [1]

Among the prior generation of contemporary artists, Barnett Newman has been singled out asone who anticipated "some of the characteristics of post-painterly abstraction."[2]

As painting continued to move in different directions, initially away from abstractexpressionism, powered by the spirit of innovation of the time, the term "post-painterlyabstraction", which had obtained some currency in the 1960s, was gradually supplanted byminimalism,hard-edge painting,lyrical abstraction, and color field painting.[3]

Post-painterly abstractionHard-edgepainting

color field paintingWashington Color

School

Abstractexpressioni

smShaped canvas
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