Daily Artwork — “The First Real Target?, Peter Blake, 1961”
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The foundations of Pop Art in America were laid during the 1950s by Jasper Johns and Robert Rauschenberg. Like Blake, both these artists incorporated images taken from popular culture into a fine art context, and Blake has acknowledged their example. This work refers to Johns’s work in particular. Whereas Johns had taken a familiar object – a target – and executed this motif on the canvas in a painterly style, Blake took this further by using a real archery target purchased from a sports shop. The work of art is consequently less like a painting and is even closer to the real world. Blake thus questions: is this ‘the first real target’? [MUSEUM CARD]
1961 — The First Real Target?. Enamel on canvas and paper on board. Pop Art style. Peter Blake (1932-). Tate Modern, London, UK.
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Tags: analysis, art, British art, critique, modern art, painting, Peter Blake, pop art, Tate Gallery
Daily Artwork — “Christina’s World, Andrew Wyeth, 1948”
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The woman crawling through the tawny grass was the artist’s neighbor in Maine, who, crippled by polio, “was limited physically but by no means spiritually.” Wyeth further explained, “The challenge to me was to do justice to her extraordinary conquest of a life which most people would consider hopeless.” He recorded the arid landscape, rural house, and shacks with great detail, painting minute blades of grass, individual strands of hair, and nuances of light and shadow. In this style of painting, known as magic realism, everyday scenes are imbued with poetic mystery. [GALLERY LABEL]
1948 — Christina’s World. Tempera on panel. Magic Realism style. Andrew Wyeth (1917-2009). Museum of Modern Art, New York, NY, USA.
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Tags: analysis, Andrew Wyeth, art, contemporary realism, critique, dark tower, magic realism, Maine, modern art, painting
Daily Artwork — “Harlequin with Guitar, Juan Gris, 1919”
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1919 — Harlequin with Guitar. Oil paint on canvas. Cubism style. Juan Gris (1887-1927). Private collection.
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Tags: analysis, art, critique, cubism, guitar, Juan Gris, modern art, music, painting, portrait, Spanish art
Daily Artwork — “Non-Objective Composition (Suprematism), Olga Rozanova, 1916”
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1916 — Non-Objective Composition. Oil paint on canvas. Suprematism style. Olga Rozanova (1886-1916).
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Tags: analysis, art, avante garde, critique, geometry, modern art, Olga Rozanova, painting, Russian Art, suprematism
Daily Artwork — “The Shoemaker, Jacob Lawrence, 1945”
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Tags: African American Art, analysis, art, critique, Jacob Lawrence, Metropolitan Museum of Art, modern art, painting, Social Realism
Daily Artwork — “The Supper, Leon Bakst, 1902”
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Tags: analysis, art, art noveau, critique, Leon Bakst, modern art, painting, portrait, Russian Art
Daily Artwork — “Spectrocoupling, Peter Phillips, 1972”
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Tags: analysis, art, critique, figurative, figurative art, modern art, Peter Phillips, pop art, screenprint, Tate Gallery
Daily Artwork — “The Beached Margin, Edward Wadsworth, 1937”
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1937 — The Beached Margin. Tempera paint on canvas on wood. Surrealism style. Edward Wadsworth (1889-1949), Tate Gallery, London, UK.
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Tags: analysis, art, critique, Edward Wadsworth, modern art, painting, surrealism, Tate Gallery
Daily Artwork — “Mystic Mountain, Eyvind Earle, 1989”
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1989 — Mystic Mountain. Serigraph. Magic Realism style. Eyvind Earle (1916-2000). Private collection.
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Tags: analysis, art, critique, Eyvind Earle, landscape, magic realism, modern art, painting
Daily Artwork — “Pottery, Patrick Caulfield, 1969”
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Tags: analysis, art, critique, modern art, painting, Patrick Caulfield, pop art, Tate Gallery
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