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1930
Sculptor & printmaker
Abstract expressionism, neo-dada, pop art

Famous depictions of the American flags & US-related topics
Most paid for a work by a living artist

Mostly paint
Triad color
Bold
Brush pattern
No blending

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1802, Paris
He was a poet, writer, artist

Style: modern, surrealism, abstract expressionism

Subjects: usually landscape drawings, sometimes surrealistic creatures and his abstract experiments

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First inspiration.

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Art work from Yengtran

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Finger prints

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Love the lighting. It’s neat but at the same time really emotional, artistic.

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His art has strong vibes, uses clear and sharp shapes or lines
Mainly dark brown or ink
Bold and vivid shadowing

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I like his will of exploring. He made unexpected shapes using different tools. They look artistic.

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One thing I dont like is that some of his work is creepy. The dark and mysterious vibe is interesting but looking in too many of the work makes me feel heavy and stressed.

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Lots of his work uses visual effect. It must be seen from a distance to see the full picture.
The work may seem liek random brush lines but it’s all intentional.

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His most famous drawing, printed in black ink

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While it is hard to decipher the meaning behind Johns’ crosshatched works, the titles can sometimes provide clues, as with Usuyuki (ULAE 222) from 1982. In Japanese, usuyuki means thin or light snow. Johns came upon the word while reading and according to the artist, the word refers to a sentimental story from a Kabuki play that has to do with “the fleeting quality of beauty in the world.” With his Usuyuki prints, Johns beautifully evokes this sentimentality with the delicate use of color and the spaced lines of the crosshatch marks.

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In his encaustic paintings of crosshatches, Johns incorporated collaged newspaper scraps which would create a thick, impasto-like surface. Johns translated this element into his screenprints such as The Dutch Wives (ULAE 196), taking advantage of the photographic possibilities of the medium he prepared collages of newsprint strips that were then translated to photoscreens. The newsprint serves as the composition’s infrastructure and is overlaid with several layers of gray inks thick with wax. Like the paintings on which this print is based, the newspaper strips poke out both at the edges and within the panels, the paler color and text catching the viewer’s eye and confusing the overall reading of the composition.