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Amongst the early artists that shaped the pop art movement were Eduardo Paolozzi and Richard Hamilton in Britain, and Larry Rivers, Ray Johnson, Robert Rauschenberg and Jasper Johns among others in the United States. Pop art is widely interpreted as a reaction to the then-dominant ideas of abstract expressionism, as well as an expansion of those ideas. [4] Due to its utilization of found objects and images, it is similar to Dada. Pop art and minimalism are considered to be art movements that precede postmodern art, or are some of the earliest examples of postmodern art themselves. [5]

Diggory, Terence (2013) Encyclopedia of the New York School Poets (Facts on File Library of American Literature). ISBN 978-1-4381-4066-7 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. Sandler, Irving H. The New York School: The Painters and Sculptors of the Fifties, New York: Harper & Row, 1978. ISBN 0-06-438505-1 pp. 174–195, Rauschenberg and Johns; pp. 103–111, Rivers and the gestural realists.

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Pop art, or popular art, was an art movement of the 1950s and 60s in America and Europe. It made use of popular imagery, such as comics, films, advertising and household objects. Eduardo Paolozzi is said to have created the first pop art work in 1952, called I Was a Rich Man’s Plaything. Paolozzi formed the Independent Group in London that same year.

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] a b c de la Croix, H.; Tansey, R., Gardner's Art Through the Ages, New York: Harcourt Brace Jovanovich, Inc., 1980. Haskell, Barbara (1984) BLAM! The Explosion of Pop, Minimalism and Performance 1958–1964. New York: W.W. Norton & Company, Inc. in association with the Whitney Museum of American Art. Lifshitz, Mikhail, The Crisis of Ugliness: From Cubism to Pop-Art. Translated and with an Introduction by David Riff. Leiden: BRILL, 2018 (originally published in Russian by Iskusstvo, 1968).

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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. 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] Tadanori Yokoo: ADC • Global Awards & Club". Adcglobal.org. 27 June 1936 . Retrieved 30 December 2015. A bit earlier, on the West Coast, Roy Lichtenstein, Jim Dine and Andy Warhol from New York City; Phillip Hefferton and Robert Dowd from Detroit; Edward Ruscha and Joe Goode from Oklahoma City; and Wayne Thiebaud from California were included in the New Painting of Common Objects show. This first pop art museum exhibition in America was curated by Walter Hopps at the Pasadena Art Museum. [39] Pop art was ready to change the art world. New York followed Pasadena in 1963, when the Guggenheim Museum exhibited Six Painters and the Object, curated by Lawrence Alloway. The artists were Jim Dine, Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, James Rosenquist, and Andy Warhol. [40] Another pivotal early exhibition was The American Supermarket organised by the Bianchini Gallery in 1964. The show was presented as a typical small supermarket environment, except that everything in it—the produce, canned goods, meat, posters on the wall, etc.—was created by prominent pop artists of the time, including Apple, Warhol, Lichtenstein, Wesselmann, Oldenburg, and Johns. This project was recreated in 2002 as part of the Tate Gallery's Shopping: A Century of Art and Consumer Culture. [41] Andy Warhol was the most famous pop artist. His work consisted of prints using repeated images of familiar images from everyday life, including banknotes, soup tins, and Marilyn Monroe.

I was a Rich Man's Plaything', Sir Eduardo Paolozzi". Tate. 10 December 2015 . Retrieved 30 December 2015. Also in the category of Spanish pop art is the "Chronicle Team" ( El Equipo Crónica), which existed in Valencia between 1964 and 1981, formed by the artists Manolo Valdés and Rafael Solbes. Their movement can be characterized as "pop" because of its use of comics and publicity images and its simplification of images and photographic compositions. Filmmaker Pedro Almodóvar emerged from Madrid's "La Movida" subculture of the 1970s making low budget super 8 pop art movies, and he was subsequently called the Andy Warhol of Spain by the media at the time. In the book Almodovar on Almodovar, he is quoted as saying that the 1950s film "Funny Face" was a central inspiration for his work. One pop trademark in Almodovar's films is that he always produces a fake commercial to be inserted into a scene. 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 ]Opening in 1962, Willem de Kooning's New York art dealer, the Sidney Janis Gallery, organized the groundbreaking International Exhibition of the New Realists, a survey of new-to-the-scene American, French, Swiss, Italian New Realism, and British pop art. The fifty-four artists shown included Richard Lindner, Wayne Thiebaud, Roy Lichtenstein (and his painting Blam), Andy Warhol, Claes Oldenburg, James Rosenquist, Jim Dine, Robert Indiana, Tom Wesselmann, George Segal, Peter Phillips, Peter Blake ( The Love Wall from 1961), Öyvind Fahlström, Yves Klein, Arman, Daniel Spoerri, Christo and Mimmo Rotella. The show was seen by Europeans Martial Raysse, Niki de Saint Phalle and Jean Tinguely in New York, who were stunned by the size and look of the American artwork. Also shown were Marisol, Mario Schifano, Enrico Baj and Öyvind Fahlström. Janis lost some of his abstract expressionist artists when Mark Rothko, Robert Motherwell, Adolph Gottlieb and Philip Guston quit the gallery, but gained Dine, Oldenburg, Segal and Wesselmann. [38] At an opening-night soiree thrown by collector Burton Tremaine, Willem de Kooning appeared and was turned away by Tremaine, who ironically owned a number of de Kooning's works. Rosenquist recalled: "at that moment I thought, something in the art world has definitely changed". [19] Turning away a respected abstract artist proved that, as early as 1962, the pop art movement had begun to dominate art culture in New York.