Download Andy Warhol, 1928-1987: Commerce Into Art (Basic Art) by Klaus Honnef PDF

By Klaus Honnef

Andy Warhol is famous at the present time because the most crucial exponent of the Pop artwork flow. He overturned the conventional realizing of artwork and put in its stead an idea that retracts the distinctiveness of the artist. Warhol used to be a serious observer of yankee society, exposing his compatriots' consumerism in his work ("Campbell-" and "Brillo" series), in addition to their fascination for sensational journalism. In 1963 Warhol based his "Factory" in big apple, actually a manufactory of principles and paintings, which motivated movie within the Nineteen Sixties, released the influential journal "Interview" within the past due Seventies, and likewise produced Warhol's personal art: Warhol conceived the assumption, and a "worker" in his manufacturing unit carried it out. The paintings remained (consciously) unsigned - a truth which however did not anything to decrease Warhol's attractiveness. He as soon as complained that wealthy New Yorkers could willingly cling his "Electric Chain" of their dwelling rooms - so long as its shades co-ordinated with the wallpaper and draperies.

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A painting like Still-Life (Fantomas), 1915 (plate 18), is a veritable anthology of his predilections: the calm shifts between opacity and transparency in the overlapping planes, the catalogue of peintre-décorateur e ects – woodgrain, wallpaper dado, fake marble; the newspaper, the pipe, and the paperback thriller. With Gris’s desire to extract a measured poetry from ordinary modern things, one is again in the world of Apollinaire’s Zone: 16 Georges Braque Soda Spring 1911 Oil on canvas 14½ ins diameter Collection, The Museum of Modern Art, New York, Acquired through the Lillie P.

And the angular, harshly lit blue space between them closely resembles the drapery in El Greco’s Dumbarton Oaks Visitation. That Picasso could give empty space the same kind of distortion a sixteenth-century artist reserved for cloth with a body inside it points to the newness of Les Demoiselles. What is solid, and what void? What is opaque, and what transparent? The questions that perspective and modelling were meant to answer are precisely the ones Picasso begs, or rather shoves aside, in this remarkable painting.

The questions that perspective and modelling were meant to answer are precisely the ones Picasso begs, or rather shoves aside, in this remarkable painting. Instead of solids (nude and fruit) in front of a membrane (the curtain) bathed in emptiness and light, Picasso conceived Les Demoiselles as though it were made of a continuous substance, a sort of plasma, thick and intrusive. If the painting has any air in it at all, it comes from the colours – the pinks and blues that survive from the wistful misérablisme of his earlier work, lending Les Demoiselles a peculiarly ironic air: whatever else these ve women may be, they are not victims or clowns.

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