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Brief History of Andy Warhol: Pop Art King

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Brief History of Andy Warhol: Pop Art King

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This video gives viewers a closer look at Andy Warhol, his lifestyle, artwork, and how he became the king of Pop Art.

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Brief History of Andy Warhol: Pop Art King

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An overview of the founder of Pop Art: Richard Hamilton. Learn more about his life, accomplishments, and art.

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Hamilton founded Pop art and a visionary who outlined its aims and ideals. A lollipop his early collages furnished the movement with its title.

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A brief look back on Roy Lichtenstein's career, art subjects, and a conversation with his youngest son.

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"From the scrapbooks of Eduardo Paolozzi, to Andy Warhol’s screen-prints; this film looks back at the beginnings of Pop Art, and explores its continuing legacy."

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A quick look at Pop Art and its relation to popular culture and consumerism.

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This book follows the rise of the Pop Art movement as well as the artists and works that had the greatest influence. https://amzn.to/2UMNpCy

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An exploration of "the styles, sources, and stars of the Pop Art phenomenon. From Lichtenstein’s comic-book aesthetics to Warhol’s images of Marilyn, it explores how a movement that interrogated the icons of its time came to produce icons of its own."
https://amzn.to/2wKXbNM

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"Pop Art: A Critical History chronicles one of the most controversial art movements of the century. The anthology draws from a great range of sources, from the leading art magazines and art historical journals to newspapers and news magazines. What emerges from this rich cross-section of critical and journalistic commentary is a fascinating view of the tumultuous rise of Pop art and its establishment as a major force in contemporary art."
https://amzn.to/2y9unPd

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Website dedicated to Roy Lichtenstein, his biography, exhibitions, image database, and more.

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Roy Lichtenstein Foundation announces new gift of eleven Lichtenstein sketchbooks to be shared between the Whitney Museum of American Art and the Morgan Library and Museum.

CLICK HERE TO READ MORE

The Roy Lichtenstein Foundation announces the launch of collaborations with the Whitney Museum of American Art and with the Archives of American Art

CLICK HERE TO READ MORE

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Roy Lichtenstein Foundation - Roy Lichtenstein Foundation

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Roy Lichtenstein Foundation announces new gift of eleven Lichtenstein sketchbooks to be shared between the Whitney Museum of American Art and the Morgan Library and Museum.

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The MoMA gives context to the rise of Pop Art, inspiration for the movement, appropriation, and celebrity. This site includes multiple PowerPoint presentations and worksheets on Pop Art.

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An overview of Pop Art, American Pop vs. British Pop, and related terms and concepts.

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Emerging in the mid 1950s in Britain and late 1950s in America, pop art reached its peak in the 1960s. It began as a revolt against the dominant approaches to art and culture and traditional views on what art should be. Young artists felt that what they were taught at art school and what they saw in museums did not have anything to do with their lives or the things they saw around them every day. Instead they turned to sources such as Hollywood movies, advertising, product packaging, pop music and comic books for their imagery.

In 1957 pop artist Richard Hamilton listed the 'characteristics of pop art' in a letter to his friends the architects Peter and Alison Smithson:

Pop Art is: Popular (designed for a mass audience), Transient (short-term solution), Expendable (easily forgotten), Low cost, Mass produced, Young (aimed at youth), Witty, Sexy, Gimmicky, Glamorous, Big business

Modernist critics were horrified by the pop artists' use of such 'low' subject matter and by their apparently uncritical treatment of it. In fact pop both took art into new areas of subject matter and developed new ways of presenting it in art and can be seen as one of the first manifestations of postmodernism.

American pop vs. British pop

Although they were inspired by similar subject matter, British pop is often seen as distinctive from American pop.

Early pop art in Britain was fuelled by American popular culture viewed from a distance, while the American artists were inspired by what they saw and experienced living within that culture.

In the United States, pop style was a return to representational art (art that depicted the visual world in a recognisable way) and the use of hard edges and distinct forms after the painterly looseness of abstract expressionism. By using impersonal, mundane imagery, pop artists also wanted to move away from the emphasis on personal feelings and personal symbolism that characterised abstract expressionism.

In Britain, the movement was more academic in its approach. While employing irony and parody, it focused more on what American popular imagery represented, and its power in manipulating people's lifestyles. The 1950s art group The Independent Group (IG), is regarded as the precursor to the British Pop art movement.

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Tate glossary definition for pop art: Name given to art made in America and Britain from the mid 1950s and 1960s that drew inspiration from sources in popular and commercial culture

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This webpage features a summary of the Pop Art movement, key ideas and accomplishments, important art and artists, and useful resources.

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Summary of Pop Art

Pop Art's refreshing reintroduction of identifiable imagery, drawn from media and popular culture, was a major shift for the direction of modernism. With roots in Neo-Dada and other movements that questioned the very definition of "art" itself, Pop was birthed in the United Kingdom in the 1950s amidst a postwar socio-political climate where artists turned toward celebrating commonplace objects and elevating the everyday to the level of fine art. American artists Andy Warhol, Roy Lichtenstein, James Rosenquist and others would soon follow suit to become the most famous champions of the movement in their own rejection of traditional historic artistic subject matter in lieu of contemporary society's ever-present infiltration of mass manufactured products and images that dominated the visual realm. Perhaps owing to the incorporation of commercial images, Pop Art has become one of the most recognizable styles of modern art.

Key Ideas & Accomplishments

By creating paintings or sculptures of mass culture objects and media stars, the Pop Art movement aimed to blur the boundaries between "high" art and "low" culture. The concept that there is no hierarchy of culture and that art may borrow from any source has been one of the most influential characteristics of Pop Art.

It could be argued that the Abstract Expressionists searched for trauma in the soul, while Pop artists searched for traces of the same trauma in the mediated world of advertising, cartoons, and popular imagery at large. But it is perhaps more precise to say that Pop artists were the first to recognize that there is no unmediated access to anything, be it the soul, the natural world, or the built environment. Pop artists believed everything is inter-connected, and therefore sought to make those connections literal in their artwork.

Although Pop Art encompasses a wide variety of work with very different attitudes and postures, much of it is somewhat emotionally removed. In contrast to the "hot" expression of the gestural abstraction that preceded it, Pop Art is generally "coolly" ambivalent. Whether this suggests an acceptance of the popular world or a shocked withdrawal, has been the subject of much debate.

Pop artists seemingly embraced the post-World War II manufacturing and media boom. Some critics have cited the Pop Art choice of imagery as an enthusiastic endorsement of the capitalist market and the goods it circulated, while others have noted an element of cultural critique in the Pop artists' elevation of the everyday to high art: tying the commodity status of the goods represented to the status of the art object itself, emphasizing art's place as, at base, a commodity.

Some of the most famous Pop artists began their careers in commercial art: Andy Warhol was a highly successful magazine illustrator and graphic designer; Ed Ruscha was also a graphic designer, and James Rosenquist started his career as a billboard painter. Their background in the commercial art world trained them in the visual vocabulary of mass culture as well as the techniques to seamlessly merge the realms of high art and popular culture.

Overview of Pop Art

From early innovators in London to later deconstruction of American imagery by the likes of Warhol, Lichtenstein, Rosenquist - the Pop Art movement became one of the most thought-after of artistic directions.

Artworks and Artists of Pop Art

I Was a Rich Man's Plaything

Artist: Eduardo Paolozzi

Paolozzi, a Scottish sculptor and artist, was a key member of the British post-war avant-garde. His collage I Was a Rich Man's Plaything proved an important foundational work for the Pop Art movement, combining pop culture documents like a pulp fiction novel cover, a Coca-Cola advertisement, and a military recruitment advertisement. The work exemplifies the slightly darker tone of British Pop Art, which reflected more upon the gap between the glamour and affluence present in American popular culture and the economic and political hardship of British reality. As a member of the loosely associated Independent Group, Paolozzi emphasized the impact of technology and mass culture on high art. His use of collage demonstrates the influence of Surrealist and Dadaist photomontage, which Paolozzi implemented to recreate the barrage of mass media images experienced in everyday life.

Collage - Collection of the Tate, United Kingdom

Just What Is It That Makes Today's Homes So Different, So Appealing?

Artist: Richard Hamilton

Hamilton's collage was a seminal piece for the evolution of Pop Art and is often cited as the very first work of the movement. Created for the exhibition This is Tomorrow at London's Whitechapel Gallery in 1956, Hamilton's image was used both in the catalogue for the exhibition and on posters advertising it. The collage presents viewers with an updated Adam and Eve (a body-builder and a burlesque dancer) surrounded by all the conveniences modern life provided, including a vacuum cleaner, canned ham, and a television. Constructed using a variety of cutouts from magazine advertisements, Hamilton created a domestic interior scene that both lauded consumerism and critiqued the decadence that was emblematic of the American post-war economic boom years.

Collage - Kunsthalle Tubingen, Germany

President Elect

Artist: James Rosenquist

Like many Pop artists, Rosenquist was fascinated by the popularization of political and cultural figures in mass media. In his painting President Elect, the artist depicts John F. Kennedy's face amidst an amalgamation of consumer items, including a yellow Chevrolet and a piece of cake. Rosenquist created a collage with the three elements cut from their original mass media context, and then photo-realistically recreated them on a monumental scale. As Rosenquist explains, "The face was from Kennedy's campaign poster. I was very interested at that time in people who advertised themselves. Why did they put up an advertisement of themselves? So that was his face. And his promise was half a Chevrolet and a piece of stale cake." The large-scale work exemplifies Rosenquist's technique of combining discrete images through techniques of blending, interlocking, and juxtaposition, as well as his skill at including political and social commentary using popular imagery.

Oil on masonite - Centre Georges Pompidou, Paris

Pastry Case, I

Artist: Claes Oldenburg

Oldenburg is known as one of the few American Pop Art sculptors, notorious for his playfully absurd creations of food and inanimate objects. The collection of works in Pastry Case, I were originally displayed in the artist's famous 1961 installation titled The Store, located on New York's Lower East Side. For the project, Oldenburg created plaster sculptural objects including a strawberry shortcake and a candied apple. In addition to replicating consumer items, Oldenburg organized his installation like a typical variety shop and sold his items at low prices, commenting on the interrelation between art objects and commodities. Although sold as if they were mass-produced, the sculptures in The Store were carefully hand-built and the lavish, expressive brushstrokes that cover the items in Pastry Case, I seem to mock the seriousness of Abstract Expressionism, a common theme in Pop Art. Oldenburg combines the evocative expressionist gesture with the commodity item in a highly ironic environment.

Painted plaster sculptures on ceramic plates, metal platter and cups in glass-and-metal case - The Museum of Modern Art, New York

Drowning Girl

Artist: Roy Lichtenstein

In the early 1960s, Lichtenstein gained renown as a leading Pop artist for paintings sourced from the popular comics. Although artists such as Robert Rauschenberg and Jasper Johns had previously integrated popular imagery into their works, no one hitherto had focused on cartoon imagery as exclusively as Lichtenstein. His work, along with that of Andy Warhol, heralded the beginning of the Pop Art movement, and, essentially, the end of Abstract Expressionism as the dominant style.

Lichtenstein did not simply copy comic pages directly, he employed a complex technique that involved cropping images to create entirely new, dramatic compositions, as in Drowning Girl, whose source image included the woman's boyfriend standing on a boat above her. Lichtenstein also condensed the text of the comic book panels, locating language as another, crucial visual element; re-appropriating this emblematic aspect of commercial art for his paintings further challenged existing views about definitions of "high" art.

As with the rest of Pop Art, it is often unclear whether Lichtenstein is applauding the comic book image, and the general cultural sphere to which it belongs, or critiquing it, leaving interpretation up to the viewer. But in Drowning Girl, the ridicule of the woman's situation (as is made clear by her ridiculous statement) is evident.

Oil on canvas - Oil and synthetic polymer paint on canvas, © Estate of Roy Lichtenstein

Campbell's Soup I

Artist: Andy Warhol

Warhol's iconic series of Campbell's Soup Cans paintings were never meant to be celebrated for their form or compositional style, like that of the abstractionists. What made these works significant was Warhol's co-opting of universally recognizable imagery, such as a Campbell's soup can, Mickey Mouse, or the face of Marilyn Monroe, and depicting it as a mass-produced item, but within a fine art context. In that sense, Warhol wasn't just emphasizing popular imagery, but rather providing commentary on how people have come to perceive these things in modern times: as commodities to be bought and sold, identifiable as such with one glance. This early series was hand-painted, but Warhol switched to screenprinting shortly afterwards, favoring the mechanical technique for his mass culture imagery. 100 canvases of Campbell's soup cans made up his first solo exhibition at the Ferus Gallery in Los Angeles, and put Warhol on the art world map almost immediately, forever changing the face and content of modern art.

Screenprint - Fair Use

Bunnies

Artist: Sigmar Polke

After Polke co-founded Capitalist Realism in 1963 in Düsseldorf, Germany, with Gerhard Richter and Konrad Leug, he began to create paintings of popular culture, evoking both genuine nostalgia for the images and mild cynicism about the state of the German economy. He began simulating the dot patterns of commercial four-color printing (Raster dots) around the same time as Lichtenstein started replicating Ben-Day dots on his canvases. In Bunnies, Polke uses an image from the Playboy Club depicting four of their "bunnies" in costume. By recreating the Raster dot printing technique in this painting, Polke disrupts the mass-marketing of sexual appeal, because the closer the viewer gets to the work, the less they see. Bunnies and the rest of Polke's Raster dot paintings, do not invite a deep, personal identification with the image but rather the images become allegories for the self as it lost amidst the flood of commecial imagery. The dissonance between the inviting sexuality of the appropriated image of the Playboy bunnies and the distancing effect of the Raster dots echoes the interplay of feelings and emotions felt by the artist, both yearning for the mass-culture advertised life and repelled by it at the same time. Polke's vision of popular culture is far more critical than any of the New York artists, and is rooted in the skeptical attitude held by the Capitalist Realists. Rather than the "cool" detachment of New York, Polke cleverly critiques popular culture and how it affects the individual using the same mass-market image-making techniques.

Oil on cavas - Hirshorn Museum and Sculpture Garden, Washington, D.C., USA

Standard Station

Artist: Ed Ruscha

The printmaker, painter, and photographer Ed Ruscha was an important proponent of West Coast Pop Art that blended the imagery of Hollywood with colorful renderings of commercial culture and the landscape of the southwest. The gasoline station is one of Ruscha's most iconic motifs, appearing repeatedly in his book Twentysix Gasoline Stations (1963), a documentation of deadpan photographs from a road trip through the American Southwestern countryside. In Standard Station, the artist transforms the banal image of the gasoline station into an emblematic symbol of American consumer culture. Here, through the medium of screenprinting, Ruscha flattens the perspective into a single plane to create an image that evokes the aesthetic of commercial advertising. The work also demonstrates Ruscha's early experiments with language and textual interplay, which would be a principal concern in much of his later, more conceptually oriented work.

Screenprint - The Museum of Modern Art, New York

A Bigger Splash

Artist: David Hockney

This large canvas, measuring approximately 94 by 94 inches, was derived from a photograph of a swimming pool Hockney had seen in a pool manual. Hockney was intrigued by the idea that a painting might recapture a fleeting event frozen in a photograph: "I loved the idea of painting this thing that lasts for two seconds: it takes me two weeks to paint this event that lasts for two seconds." The dynamism of the splash contrasts strongly with the static and rigid geometry of the house, the pool edge, the palm trees and the striking yellow diving board, all carefully arranged in a grid containing the splash. This gives the painting a disjointed effect that is absolutely intentional, one of the hallmarks of Hockney's style. The effect of stylization and artificiality draws on the aesthetic vocabulary of Pop Art.

Acrylic on canvas - Collection of the Tate, United Kingdom

Beginnings of Pop Art

Great Britain: The Independent Group

In 1952, a gathering of artists in London calling themselves the Independent Group began meeting regularly to discuss topics such as mass culture's place in fine art, the found object, and science and technology. Members included Eduardo Paolozzi, Richard Hamilton, architects Alison and Peter Smithson, and critics Lawrence Alloway and Reyner Banham. Britain in the early 1950s was still emerging from the austerity of the post-war years, and its citizens were ambivalent about American popular culture. While the group was suspicious of its commercial character, they were enthusiastic about the rich world pop culture seemed to promise for the future. The imagery they discussed at length included that found in Western movies, science fiction, comic books, billboards, automobile design, and rock and roll music.

The actual term "Pop Art" has several possible origins: the first use of the term in writing has been attributed to both Lawrence Alloway and Alison and Peter Smithson, and alternately to Richard Hamilton, who defined Pop in a letter, while the first artwork to incorporate the word "Pop" was produced by Paolozzi. His collage I Was a Rich Man's Plaything (1947) contained cut-up images of a pinup girl, Coca-Cola logo, cherry pie, World War II bomber, and a man's hand holding a pistol, out of which burst the world "POP!" in a puffy white cloud.

New York City: The Emergence of Neo-Dada

By the mid 1950s, the artists working in New York City faced a critical juncture in modern art: follow the Abstract Expressionists or rebel against the strict formalism advocated by many schools of modernism. By this time, Jasper Johns was already troubling conventions with abstract paintings that included references to: "things the mind already knows" - targets, flags, handprints, letters, and numbers. Meanwhile, Robert Rauschenberg's "combines" incorporated found objects and images, with more traditional materials like oil paint. Similarly, Allan Kaprow's "Happenings" and the Fluxus movements chose to incorporate aspects from the surrounding world into their art. These artists, along with others, later became grouped in the movement known as Neo-Dada. The now classic New York Pop Art of Roy Lichtenstein, Claes Oldenburg, James Rosenquist, and Andy Warhol emerged in the 1960 in the footsteps of the Neo-Dadaists.

Pop Art: Concepts, Styles, and Trends

Once the transition from the found-object constructions of the Neo-Dada artists to the Pop movement was complete, there was widespread interest on the part of artists in the incorporation of popular culture into their work. Although artists in the Independent Group in London initiated the use of "pop" in reference to art, American artists soon followed suit and incorporated popular culture into their artwork as well. Although the individual styles vary widely, all of the artists maintain a commonality in their choice of popular culture imagery as their fundamental subject. Shortly after American Pop Art arrived on the art world scene, mainland European variants developed in the Capitalist Realist movement in Germany and the Nouveau Réalisme movement in France.

Richard Hamilton, Eduardo Paolozzi, and the Tabular Image

The Pop Art collages of Paolozzi and Hamilton convey the mixed feelings Europeans maintained toward American popular culture; both exalting the mass-produced objects and images while also criticizing the excess. In his collage, Just what is it that makes today's homes so different, so appealing? (1956), Hamilton combined images from various mass media sources, carefully selecting each image and composing the disparate elements of popular imagery into one coherent survey of post-war consumer culture. The members of the Independent Group were the first artists to present mass media imagery, acknowledging the challenges to traditional art categories occurring in America and Britain after 1945.

Roy Lichtenstein and Pulp Culture

Lichtenstein proved that he could fulfill demands for a "great" composition even though his subject matter derived from comic books. In addition to using the imagery from these mass-produced picture books, Lichtenstein appropriated the techniques used to create the images in comic books to create his paintings. He not only adopted the same bright colors and clear outlines as popular art, his most innovative contribution was his use of Ben-Day dots: small dots used to render color in mass-manufactured comics. Focusing on a single panel within a comic strip, Lichtenstein's canvases are not an exact facsimile, but are rather the artist's creative re-imaging of the composition in which elements may have been added or eliminated, scale could shift, and text might be edited. By hand-painting the usually machine-generated dots, and recreating comic book scenes, Lichtenstein blurred the distinction between mass reproduction and high art.

James Rosenquist and the Monumental Image

Rosenquist also directly appropriated images from popular culture for his paintings. However, rather than produce rote copies, Rosenquist exerted creative control through his surrealistic juxtapositions of products and celebrities, often inserting political messages. As part of his method, Rosenquist collaged magazine clippings from advertisements and photo spreads, and then used the results as studies for his final painting. Rosenquist's training in billboard painting transitioned perfectly into his realistic renderings of those collages expanded onto a monumental scale. With works often much larger and wider than 20 feet, Rosenquist imbued the mundane with the same status previously reserved for high, sometimes royal, art subjects.

Andy Warhol and Repetition

Andy Warhol is most famous for his vividly colored portraits of celebrities, but his subject matter has varied widely throughout his career. The common theme amidst the different subjects is their inspiration in mass consumer culture. His earliest works depict objects like Coca-Cola bottles and Campbell's soup cans, reproduced ad infinitum, as if the gallery wall were a shelf in a supermarket. Warhol transitioned from hand painting to screenprinting to further facilitate the large-scale replication of pop images. Warhol's insistence on mechanical reproduction rejected notions of artistic authenticity and genius. Instead, he acknowledged the commodification of art, proving that paintings were no different from cans of Campbell's soup; both have material worth and could be bought and sold like consumer goods. He further equated the mass-produced status of consumer goods with that of celebrities in portraits like Marilyn Diptych (1962).

Claes Oldenburg and Pop Sculpture

Renowned for his monumental public sculptures of everyday objects and his "soft" sculptures, Claes Oldenburg began his career on a much smaller scale. In 1961 he rented a storefront in New York City for a month where he installed and sold his wire and plaster sculptures of mundane objects, ranging from pastries to men's and women's undergarments, in an installation he dubbed The Store. Oldenburg charged a nominal fee for each piece, which underscored his commentary on the role of art as a commodity. He began his soft sculptures shortly after The Store, constructing large, everyday objects, like a slice of cake, an ice cream cone, or a mixer, out of fabric and stuffing so the end result collapses in on itself like a deflating balloon. Oldenburg would continue to focus on commonplace objects throughout his career, moving from soft sculptures to grand public art, like the 45-foot-high Clothespin (1974) in downtown Philadelphia. Regardless of the scale, Oldenburg's work always maintains a playful attitude toward re-creating mundane things in an unconventional way in order to upend viewer's expectations.

Los Angeles Pop

As opposed to New York City, the art world of Los Angeles was much less rigid, lacking the established galleries, critics, and hierarchies of the east coast; this openness is reflected in the styles of the artists who lived and worked there. The first museum survey of Pop Art, New Painting of Common Objects, was held at the Pasadena Art Museum in 1962, and showcased Warhol and Lichtenstein as well as many artists living in Los Angeles including Ed Ruscha, Joe Goode, Phillip Hefferton, Wayne Thiebaud, and Robert Dowd. Other Los Angeles artists, like Billy Al Bengston, incorporated a different kind of aesthetic into their version of Pop, utilizing new materials such as automobile paint and referencing surfing and motorcycles in works that make the familiar strange through new and unexpected combinations of images and media. By shifting the focus away from specific consumer goods, these artists allowed Pop Art to move beyond replication to incorporate experience and evoke a particular feeling, attitude, or idea, while also pushing the boundaries between high art and popular culture.

Ed Ruscha and Signage

On the roster at Ferus Gallery, Ed Ruscha was one of the pivotal artists of Los Angeles Pop who worked in a variety of media, with the majority of these typically printed or painted. Emphasizing the omnipresence of signage in Los Angeles, Ruscha used words and phrases as subjects in his earliest Pop Art paintings. His first reference to popular culture was the painting Large Trademark with Eight Spotlights (1962), where he appropriated the 20 th Century Fox logo in a simplified composition with the hard edges and clear palette of a cartoon, echoing the similar billboards. His subsequent paintings of words further blurred the lines between advertising signage, painting, and abstraction, undermining the divisions between the aesthetic world and the commercial realm, some even incorporating three-dimensional objects like pencils and comic books on the canvases. Ruscha's work presages the Conceptual art of the later 1960s, driven by the idea behind the artwork rather than the specific image. Ruscha's exploration of a variety of commonplace images and themes went beyond merely reproducing them, but to examining the interchangeability of image, text, place, and experience.

Capitalist Realism in Germany

In Germany, the counterpart to the American Pop Art movement was Capitalist Realism, a movement that focused on subjects taken from commodity culture and utilized an aesthetic based in the mass media. The group was founded by Sigmar Polke in 1963 and included artists Gerhard Richter and Konrad Lueg as its central members. The Capitalist Realists sought to expose the consumerism and superficiality of contemporary capitalist society by using the imagery and aesthetic of popular art and advertising within their work. Polke explored the creative possibilities of mechanical reproduction and Lueg examined pop culture imagery, while Richter dissected the photographic medium.

Nouveau Réalisme in France

In France, aspects of Pop Art were present in Nouveau Réalisme, a movement launched by the critic Pierre Restany in 1960, with the drafting of the "Constitutive Declaration of New Realism," that proclaimed, "Nouveau Réalisme - new ways of perceiving the real." The declaration was signed in Yves Klein's workshop by nine artists who were united in their direct appropriation of mass culture, or in Restany's words, "poetic recycling of urban, industrial, and advertising reality." This principle is evident in the work of Villeglé, whose technique of " décollage" involved cutting through layers of posters to create a new image. While the movement echoed the American Pop artists' concerns with commercial culture, many of the Nouveau Réalistes were more concerned with objects than with painting, as is the case with Spoerri, whose "snare-pictures" used food, cutlery, and tabletops as artistic media. Other key proponents of the movement included Yves Klein, Jean Tinguely, Arman, François Dufrêne, Raymond Hains, Niki de Saint Phalle, and Christo and Jean-Claude.

Later Developments - After Pop Art

Pop Art would continue to influence artists in later decades, with artists like Warhol maintaining a larger-than-life presence within the New York art world into the 1980s. Pop fell out of favor during the 1970s as the art world shifted focus from art objects to installations, performances, and other less tangible art forms. However, with the revival of painting at the end of the 1970s and in the early 1980s, the art object came back into favor once again, and popular culture provided subject matter that was easy for viewers to identify and understand. One of the leading figures of the Neo-Pop movement was Jeff Koons, whose appropriation of pop culture icons such as Michael Jackson and mass-produced objects like Hoover vacuum cleaners further pushed the boundaries of high art. In Japan, the work of Takashi Murakami has been cited as a more recent example of Neo-Pop, due to his use of popular anime imagery in his Superflat style and his successful partnering with fashion labels like Louis Vuitton. Such artists continue to break down the barrier between high and low art forms, while reevaluating the role of art as a commodity in and of itself.

Useful Resources on Pop Art

Individual Artist Overviews:

Similar Art

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Pop artists celebrated everyday images and elevated popular culture to the level of fine art. Top works by Warhol, Lichtenstein, Johns, Dine, Ruscha++

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This site showcases popular Pop Art works with descriptions and more background information connecting the artwork to the movement.

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Andy Warhol - from Soup Cans to Celebrities

ANDY WARHOL (1928-1987)
'32 Campbell's Soup Cans', 1962 ( synthetic polymer paint on canvas)

If there was one artist who personified Pop Art it was Andy Warhol. He originally worked as a 'commercial artist' and his subject matter was derived from the imagery of mass-culture: advertising, comics, newspapers, TV and the movies.

Warhol embodied the spirit of American popular culture and elevated its imagery to the status of museum art. He used second-hand images of celebrities and consumer products which he believed had an intrinsic banality that made them more interesting. He felt that they had been stripped of their meaning and emotional presence through their mass-exposure. Typically subverting the values of the art establishment, Warhol was fascinated by this banality which he celebrated in a series of subjects ranging from soup cans to celebrities. Whether it was a painting of 'Campbell's Chicken Noodle' or a 'Car Crash', a portrait of 'Elizabeth Taylor' or the 'Electric Chair', Warhol's detached approach was always the same: "I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better or worse painting."

ANDY WARHOL (1928-1987)
'Three Coke Bottles', 1962 ( silkscreen, ink, and graphite on linen)

Warhol saw this aesthetic of mass-production as a reflection of contemporary American culture: "What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know that the President drinks Coca Cola, Liz Taylor drinks Coca Cola, and just think, you can drink Coca Cola, too. A coke is a coke and no amount of money can get you a better coke than the one the bum on the corner is drinking. All the cokes are the same and all the cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it." The obvious irony of this statement is that the price of that Coke bottle hits the stratosphere as soon as Warhol signs it.

As Cubism stands on the shoulders of Cézanne, Warhol's art is dependant on Duchamp's 'readymades. He was really a Dadaist in spirit - an 'agent provocateur'. His many whimsical proclamations about art were deliberately enigmatic and contrary, avoiding clarification and forcing his audience to speculate on their meaning: "I'd prefer to remain a mystery. I never like to give my background and, anyway, I make it all up different every time I'm asked." Warhol's evasive attitude was a strategy, the result of which was self publicity. He cultivated his own image like a business model which was inseparable from his art. He said, "I started as a commercial artist, and I want to finish as a business artist. Being good in business is the most fascinating kind of art."

ANDY WARHOL (1928-1987)
'Marilyn Diptych', 1962 (silkscreen on canvas)

Warhol was against the idea of skill and craftsmanship as a way of expressing the artist's personality. He claimed to have removed both craftsmanship and personality from his own art: "The reason I'm painting this way is that I want to be a machine, and I feel that whatever I do and do machine-like is what I want to do.............If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, there I am. There's nothing behind it." His works were produced through the mechanical processes of film and silkscreen printing or made by others in his studio which was called 'The Factory'.

Warhol's paradoxical statements such as, "I am a deeply superficial person" or "art should be meaningful in the most shallow way" are echoed in his work. The left hand panel of his 'Marilyn Diptych' is a crudely colored photograph of the actress whose sense of 'self' is degraded through the repetition of her image, whereas the right hand panel is a physically degraded black and white image (as the printing ink runs out on the silkscreen) that reflects the ephemeral qualities of fame. Their combined panels are a memorable discourse on the nature of celebrity and its power to both create and destroy its acquaintances. The 'diptych' format was originally used in medieval painting for religious images of personal devotion, an appropriate choice considering Warhol's fascination for Marilyn Monroe. The work was exhibited in Warhol's first New York exhibition at the Stable Gallery in November 1962, just weeks after Marilyn's death from 'acute barbiturate poisoning'. The Marilyn Diptych, along with his other famous Marilyn paintings, is based on a 1953 publicity photograph for the film 'Niagara' that Warhol purchased only days after she died.

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ANDY WARHOL (1928-1987) '32 Campbell's Soup Cans', 1962 ( synthetic polymer paint on canvas) If there was one artist who personified Pop Art it was Andy Warhol. He originally worked as a 'commercial artist' and his subject matter was derived from the imagery of mass-culture: advertising, comics, newspapers, TV and the movies.

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Students learn how to make a portrait in the style of Andy Warhol's work.

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Our lessons on how to create a Pop Art Portrait offer you the choice of two projects:

Pop Art Portrait Lesson - this is a single art project for the individual user. You will learn how to simplify the shapes and colors of a portrait to develop the image of a classic Pop Art Portrait.

Pop Art Group Project - this lesson allows for up to 20 individuals to participate equally in the creation of an iconic Pop Art Portrait.

Our Pop Art History link offers you background information about the artists and ideas associated with this popular style of art.

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Our lessons on how to create a Pop Art Portrait offer you the choice of two projects: Pop Art Portrait Lesson - this is a single art project for the individual user. You will learn how to simplify the shapes and colors of a portrait to develop the image of a classic Pop Art Portrait.

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Students will watch a video on Pop Art and attempt to create a piece of art similar to that which was produced during the movement.

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Learning Objectives

Upon completion of this lesson, students will be able to:

Explain the origins, purpose and influence of pop art

Identify pop art

Develop and create individual works of pop art

Length

30 minutes to 1 hour

Materials

Large heavyweight plain paper or poster board

An assortment of magazines, newspapers, comic books and food/candy wrappers

Scissors

Glue

Tablets, computers or projector to access lesson

Curriculum Standards

CCSS.ELA-LITERACY.RH.6-8.2: Determine the central ideas or information of a primary or secondary source; provide an accurate summary of the source distinct from prior knowledge or opinions.

CCSS.ELA-LITERACY.RH.6-8.7: Integrate visual information (e.g., in charts, graphs, photographs, videos, or maps) with other information in print and digital texts.

Instructions

Show the study.com video lesson Pop Art: Imagery, Influence & Examples to the class.

After viewing the whole video, freeze the video at 2:31 to display to the class.

Ask students to create individual works using the featured Warhol piece as inspiration, and the overall principles of pop art as a guide. Students will use the paper, newspapers, magazines, comic books, food/candy wrappers, scissors and glue. As is true of pop art, the goal of these pieces should be to make a statement about modern culture in a funny or ironic way.

When all students have completed their personal pop art, take the associated quiz on Study.com as a class.

Extensions

Take a virtual field trip to online museums and galleries that feature pop art.

Ask students to research famous pop artists and report on their importance in the field.

Host a gallery night in the classroom to show off the pop art created by students.

New Realism, Pop Art, Op Art & Hyperrealism

Abstract Expressionism, Hard Edge & Color Field Painting
Comparing Minimalism & Abstract Expressionism

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Upon completion of this lesson, students will be able to: Explain the origins, purpose and influence of pop art Identify pop art Develop and create individual works of pop art 30 minutes to 1 hour Large heavyweight plain paper or poster board An assortment of magazines, newspapers, comic books and food/candy wrappers Scissors Glue Tablets, computers or projector to access lesson CCSS.ELA-LITERACY.RH.6-8.2: Determine the central ideas or information of a primary or secondary source; provide an accurate summary of the source distinct from prior knowledge or opinions.

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"Students explore the work of Andy Warhol and create their own pop art montage."

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Students explore the work of Andy Warhol and create their own pop art montage.

Task

Andy Warhol transformed contemporary art, challenging the differences between fine art and popular culture. In this project, students explore the ideas of pop art and mass appeal and design their own pop art montage in the spirit of Andy Warhol.

Engage

Begin by exploring Andy Warhol's ideas about Pop Art through his quote:

"Everything is beautiful. Pop is everything."

Ask your students what Warhol means by the word "pop." Students may be able to connect it with other terms like pop music, pop icon, pop artist.

Use books, websites like Artcyclopedia, and other media resources to familiarize students with the life and work of Andy Warhol.

Share examples of Andy Warhol's popular art, such as:

10 Marilyns, 1967

Mickey Mouse, 300 SL Coupe, 1954

Campbell's Soup Can, 1965

According to Miriam-Webster's Online Dictionary, Pop Art is "art in which commonplace objects (as road signs, hamburgers, comic strips, or soup cans) are used as subject matter and are often physically incorporated into the work."

Introduce students to words like "mass appeal," "mass produced," and "iconic" and ask if they know what these mean. You might want to show an object like a fidget spinner, or Chinese takeout box, to get them thinking.

Then, work together to create a list of familiar and iconic mass-produced items like specific models/brands of cars, cell phones, candy, or fast food.

Create

Share how Warhol elevated mass-produced, iconic objects into unique works of art by using repetition and dramatically changing their colors.

Let students know that they will be creating their own pop art using an image of a pop culture object and Warhol's technique of color and repetition.

Have student create a pop art template with several different colored boxes. If you are using Wixie, students can open the Pop Art file in their Templates library.

Have students locate an image of an object they think meets the definition of mass-produced and iconic (or even just popular, depending on the age of your students). Then, have them use imaging and paint tools to adjust the color of the boxes and objects.

If students are using Wixie, they can search the Stickers Library for simple images of popular food or objects. After they add them to the page, they can select the objects, go to the Edit menu and choose Glue to Paint layer to adjust colors using Wixie's Paint bucket fill tool.

Share

Print the images to display them as an art exhibit in your classroom or school or reach out to a local coffee shop or even small business to see if they might be interested in showcasing student work in their office.

Combine individual student work into one document using Wixie's Import Pages feature to make it easy to run a slide show for a digital art installation. You can also export the class book as a PDF or an ePub, so students can read and enjoy on their devices at home.

If you want a more professional looking published product, export student work as JPG files and upload to a photo-sharing site. Then, use the site's features to publish a coffee table-style or paperback book.

Assessment

As you ask students to define pop culture, mass production, iconic and other connected terms, you will gain an idea of their comprehension of their meaning. Their choice of a subject for their pop art image will also help you assess their understanding of popular culture and mass appeal.

As they build their pop art image, you can evaluate their artistic ability to use color for dramatic purpose and feeling.

Resources

Joyce Raimondo Make it Pop!: Activities and Adventures in Pop Art

Susan Goldman Rubin Andy Warhol: Pop Art Painter

Artcyclopedia Andy Warhol

Standards

National Core Arts Standards:

Creating
1. Generate and conceptualize artistic ideas and work.
2. Organize and develop artistic ideas and work.
3. Refine and complete artistic work.

Connecting
10. Synthesize and relate knowledge and personal experiences to make art.

ISTE Standards for Students:

6. Creative Communicator
Students communicate clearly and express themselves creatively for a variety of purposes using the platforms, tools, styles, formats and digital media appropriate to their goals. Students:

d. publish or present content that customizes the message and medium for their intended audiences.

What can your students create?

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Andy Warhol transformed contemporary art, challenging the differences between fine art and popular culture. In this project, students explore the ideas of pop art and mass appeal and design their own pop art montage in the spirit of Andy Warhol. Begin by exploring Andy Warhol's ideas about Pop Art through his quote: "Everything is beautiful.

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"From the streets of Manhattan, Alan Cumming whips through the history of Pop Art in America and Britain, from Andy Warhol's soup cans to Peter Blake's blue jeans."

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The World Goes Pop with Alan Cumming | Unlock Art | Tate

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An overview of Pop Artist, Pete Blake, his contribution to the movement, artwork, and relevant articles.

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Widely regarded as the godfather of British Pop art and the Young British Artists movement, Peter Blake creates paintings, collages, and prints that blend modernity and nostalgia. Though best known for designing the album cover for the Beatles' Sgt. Pepper's Lonely Hearts Club Band, he considers painting to be central to his oeuvre. While celebrity figures inform his work, folk art, fairground signs, and an overall sense of nostalgia also influence his style. In 1997, at the age of 65, Blake emotionally retired from painting, he said, and entered what he calls his late period. He continues to work but is no longer interested in the art world's opinion of his art, instead creating what he wants regardless of its relation to his previous paintings.

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Peter Blake - 543 Artworks, Bio & Shows on Artsy

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Widely regarded as the godfather of British Pop art and the Young British Artists movement, Peter Blake creates paintings, collages, and prints that blend modernity and nostalgia. Though best known for designing the album cover for the Beatles' Sgt. Pepper's Lonely Hearts Club Band, he considers painting to be central to his oeuvre.

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This website showcases the museum dedicated to Andy Warhol's life and artwork. lesson plans are included on this site.

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The Andy Warhol Museum

Skip to content

Woman standing in the left-side of a kitchen looks at her son, who is seated, as he eats a bowl of cereal.

Photograph by Ken Heyman, 1964

Warhol at Home

Our mission as a museum is to engage and inspire through Warhol's life, art, and legacy. But we also know that art can offer solace or even provoke dialogue in uncertain times. Warhol at Home brings the museum to you through stories, videos, and activities designed to encourage critical thinking and new ways to look at the world. We invite you to read, watch, and learn from the comfort of your home as we share new material each week. In the meantime, please stay healthy and safe.

We would like to thank our museum partners

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The Andy Warhol Museum Skip to content Woman standing in the left-side of a kitchen looks at her son, who is seated, as he eats a bowl of cereal. Photograph by Ken Heyman, 1964 Our mission as a museum is to engage and inspire through Warhol's life, art, and legacy.

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What is Pop Art? Techniques, Artists, and Examples that Shaped the Movement

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What is Pop Art? Techniques, Artists, and Examples that Shaped the Movement

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This webpage looks at an overview of Pop Art, a brief history of the movement, defining characteristics, important artists, and a list of Pop Art facts.

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Perhaps the most well-known artistic development of the 20th century, Pop art emerged in reaction to consumerism, mass media, and popular culture. This movement surfaced in the 1950s and gained major momentum throughout the sixties. Pop art transitioned away from the theory and methods used in Abstract Expressionism, the leading movement that preceded it. Instead, it drew upon everyday objects and media like newspapers, comic books, magazines, and other mundane objects to produce vibrant compositions, establishing the movement as a cornerstone of contemporary art.

This introduction of identifiable imagery was a major shift from the direction of modernism, which Pop artists considered empty and elitist. Many artists associated with the movement-most notably Andy Warhol and Roy Lichtenstein -achieved unprecedented fame and status, an experience that brought practitioners closer to mainstream celebrity. Today, Pop art is one of the most instantly recognizable forms of art.

What is Pop Art?

Pop art is a movement that emerged in the mid-20th century in which artists incorporated commonplace objects-comic strips, soup cans, newspapers, and more-into their work. The Pop art movement aimed to solidify the idea that art can draw from any source, and there is no hierarchy of culture to disrupt this.

A Brief History of Pop Art

Pop art began in the mid-1950s in Britain by a group of painters, sculptors, writers, and critics called Independent Group. It spread soon after into the United States. Much of the movement's roots were prompted by a cultural revolution led by activists, thinkers, and artists who aimed to restructure a social order ruled by conformity. The movement spread quickly, and many believe that U.K. Pop pioneer Richard Hamilton's 1956 collage Just what is it that makes today's homes so different, so appealing? marked the official beginning of the cultural phenomenon after it appeared in Whitechapel Gallery in London.

Hamilton described the movement's characteristics writing, "Pop art is: Popular (designed for a mass audience), Transient (short-term solution), Expendable (easily forgotten), Low cost, Mass produced, Young (aimed at youth), Witty, Sexy, Gimmicky, Glamorous, Big business." After the movement burst onto the scene in the United States, it quickly spread across the globe and continues to influence fine art and popular culture today.

Pop Art Characteristics

Pop art is easily recognizable due to its vibrancy and unique characteristics that are present in many of the most iconic works of the movement. Below are some of the defining characteristics of of Pop art:

Recognizable imagery: Pop art utilized images and icons from popular media and products. This included commercial items like soup cans, road signs, photos of celebrities, newspapers, and other items popular in the commercial world. Even brand names and logos were incorporated.

Bright colors: Pop art is characterized by vibrant, bright colors. Primary colors red, yellow, and blue were prominent pigments that appeared in many famous works, particularly in Roy Lichtenstein's body of work.

Irony and satire: Humor was one of the main components of Pop art. Artists use the subject matter to make a statement about current events, poke fun at fads, and challenge the status quo.

Innovative techniques: Many Pop artists engaged in printmaking processes, which enabled them to quickly reproduce images in large quantities. Andy Warhol used silkscreen printing, a process through which ink is transferred onto paper or canvas through a mesh screen with a stencil. Roy Lichtenstein used lithography, or printing from a metal plate or stone, to achieve his signature visual style. Pop artists often took imagery from other areas of mainstream culture and incorporated it into their artworks, either altered or in its original form. This type of Appropriation art often worked hand in hand with repetition to break down the separation between high art and low art, which made the distinction between advertising and media from fine art.

Mixed media and collage: Pop artists often blended materials and utilized a variety of different types of media. Like Robert Rauschenberg, whose works anticipated the Pop art movement, artists Tom Wesselmann and Richard Hamilton combined seemingly disparate images into a single canvas to create a thoroughly modern form of narrative. Similarly, Marisol is known for sculptures that use many a variety of different materials to represent figures.

Pop Artists Who Defined the Movement

Andy Warhol

Andy Warhol's name has become synonymous with American Pop art. Warhol's works typify many aspects of the movement, like an obsession with celebrity, the repetition of images, and the use of advertising as subject matter. His most notable series include "Campbell's Soup Cans," depictions of Jacqueline Kennedy Onassis, and "Death and Disaster." Warhol collaborated with artists like Jean-Michel Basquiat and commercial brands like Perrier. He eventually opened an artist's studio called "The Factory," which served as a workshop for Warhol's art-making-as well as a hangout for bohemians.

Roy Lichtenstein

Another iconic American Pop artist is Roy Lichtenstein. Known for his use of primary colors and bold outlines, Lichtenstein's signature style referenced the comic books from which he derived much of his early source material. Even in later series of works, Lichtenstein used Ben-Day dots to evoke the comic style across his canvases and sculptures. Like Warhol and Lichtenstein, Ed Ruscha and James Rosenquist took subject matter from print media to create riffs on signage that exemplified the cultural zeitgeist.

Robert Rauschenberg

Rauschenberg radically blended materials and methods to create remarkable Pop art collages, incorporating popular imagery from the time period in which he existed. One of his most notable works, Retroactive II, created in 1964, was a silkscreen image that featured a portrait of John F. Kennedy and a NASA astronaut among other images mixed and recombined in a interesting way.

David Hockney

David Hockney helped pioneer the British Pop art movement in the 1960s, creating semi-abstract paintings and experimenting with a wide range of media. His 1967 work, A Bigger Splash was one of multiple Pop art paintings that centered around swimming pools, a fascination that grew after he moved to California and recognized the relaxed, sensual way by which residents lived in that area.

Female Pop Artists

Female Pop artists are often excluded from the traditional narrative of the movement, but many played a pivotal role throughout their careers. Playwright and avant-garde artist Rosalyn Drexler, conceptual and Pop artist Marisol, and Belgian painter Evelyne Axell all contributed to the success of the Pop movement. Today, more female Pop artists are being featured in museum shows and auctions thanks to these trailblazers.

Pop Art Facts

The first work of Pop art was created by Scottish artist Eduardo Paolozzi in 1952. It was a collage made from magazines called I was a Rich Man's Plaything.

Pop art was originally called Propaganda art.

Andy Warhol designed the iconic album artwork for The Velvet Underground's debut album, The Velvet Underground & Nico.

The Souper Dress, a throwaway garment inspired by Warhol's Campbell's Soup Can series, was manufactured by the Campbell Soup Company in 1966-67.

Pop art's use of found objects and images can be traced back to the Dada movement in the early 1900s.

Artists like Jeff Koons and Claes Oldenburg satirized everyday objects by depicting them in monumental proportions. Oldenburg's iconic pieces include giant ice cream scoops, spoons, clothespins, and more.

The most expensive Warhol ever sold was Silver Car Crash (Double Disaster), which he created in 1963. It sold for $105 million in 2013.

Pop art spread across virtually all facets of society, first through artist collaborations in design and music, and later when new generations of artists became inspired by the mid-century style. In the 1980s, some postmodern artists worked under the banner of "Neo-Pop." These artists, including Jeff Koons, continued taking items from everyday life and incorporating them into their works of art.

Today, the mantle of Pop art is being taken up by artists like Japanese phenom Takashi Murakami. Murakami coined the term "Superflat" to describe his art, which refers to its graphic nature inspired by anime, pop culture, and consumerism. In addition, Street artists like Banksy have been influenced by the legacy of Pop art, using stencils and graphic design to achieve a similar aesthetic in their works.

Because Pop art near perfectly mimics the aspects of society that it reacts to, its impact on culture in the United States and beyond is, at this point, immeasurable.

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What is Pop Art? Techniques, Artists, and Examples that Shaped the Movement

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Perhaps the most well-known artistic development of the 20th century, Pop art emerged in reaction to consumerism, mass media, and popular culture. This movement surfaced in the 1950s and gained major momentum throughout the sixties. Pop art transitioned away from the theory and methods used in Abstract Expressionism, the leading movement that preceded it.

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Artist: Eduardo Paolozzi

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Just What Is It That Makes Today's Homes So Different, So Appealing? (1956)

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Just What Is It That Makes Today's Homes So Different, So Appealing? (1956)

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Artist: Richard Hamilton

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Artist: Roy Lichtenstein

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Artist: Andy Warhol

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"Pop Art looks out into the world. It doesn't look like a painting of something, it looks like the thing itself."

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"The pop artists did images that anybody walking down Broadway could recognize in a split second — comics, picnic tables, men’s trousers, celebrities, shower curtains, refrigerators, Coke bottles. All the great modern things that the Abstract Expressionists tried not to notice at all."

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"Pop is everything art hasn't been for the last two decades. It's basically a U-turn back to a representational visual communication, moving at a break-away speed...Pop is a re-enlistment in the world...It is the American Dream, optimistic, generous and naïve."

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“Pop art is popular (designed for a mass audience), transient (short term solution), expendable (easily forgotten), low cost, mass produced, young (aimed at youth), witty, sexy, gimmicky, glamorous, big business.”