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 — “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 — “Pottery, Patrick Caulfield, 1969”
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Tags: analysis, art, critique, modern art, painting, Patrick Caulfield, pop art, Tate Gallery
Daily Artwork — “June 1937, Ben Nicholson, 1937”
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Tags: abstract, abstract art, analysis, art, Ben Nicholson, critique, interpretation, modern art, painting, Tate Gallery
Daily Artwork — “Regalia, Edward Wadsworth, 1928”
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1928– Regalia. Tempera and oil paint on canvas. Surrealism style. Edward Wadsworth (1889-1949). Tate Gallery, London, UK.
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Tags: analysis, art, critique, Edward Wadsworth, modern art, surrealism, symbolism, Tate Gallery
Daily Artwork — “Untitled, Eva Hesse, 1965”
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Hesse made drawings throughout her career. During 1964–1965 she was based in Germany as the guest of a textile manufacturer and collector who provided her with a studio space above his textile factory. Many of her drawings from this period, including this one, combine imagery which is principally abstract and organic with details that suggest machine parts and elements drawn from the factory environment. (WikiArt)
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Tags: abstract, analysis, art, critique, Eva Hesse, feminist, feminist art, figurative, gouache, modern art, painting, Tate Gallery
