Table Of ContentRT REVOLUTIONS
LINDA BOLTON
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ART REVOLUTIONS
POP ART
Linda Bolton
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PETER BEDRICK BOOKS
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This American edition published 2000 by Peter Bedrick Books,
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First published in Great Britain in 2000 by Belitha Press Limited,
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Copyright ? 2000 by Belitha Press Limited J
N6494
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Editor Susie Brooks 2000
Designer HelenJames
Picture Researcher Diana Morris
Educational Consultant Hester Collicutt
Consultants for US Edition Nathaniel Harris. Ruth Nason
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Picture Credits:
CLoovnedro:nRo1y999Li.ch©tenEsstteaitne.oWfhRaoaymL!i.cht1e9n6s3t,eidne.taAilll.rPihgohttsorIe.seTravteed,Gallery. MMro.dehrnMrAsr.t.HeNrebewrtYoFriks.chAbllacnhg.htPshorteosgerrvaepdh. D?AC2S00.0M15u:sAelulamnof
DACS. I: ClaesOldenburg, Floor Burger, 1962. ArtGalleryof DArcangelo, Manlyn, 1962. VAGA, NewYork. All rightsreserved,
Ontario, Toronto. ®ClaesOldenburg. 4: RoyLichtenstein, Whaam! DACS. 16: Tom Wesselmann, Still Life # 19, 1962, © Tom
1963. Phototj TateGallery, London 1999. ® EstateofRoy Wesselmann/VAGA. All rights reserved, DACS. I7t:Tom
Lichtenstein. All nghts reserved, DACS. 5: ClaesOldenburg, Leaning Wesselmann, Mouth #14, 1967. ©TomWesselmann/VAGA, New
Forkwith Meatball and Spaghetti I, 1994. Collection ClaesOldenburg York. All nghts reserved. DACS. 17b: TomWesselmann, Interior#2.
andCoosjevan Bruggen. PhotoAKG London. & ClaesOldenburg. 1964. VAGA, NewYork All nghts reserved. DACS. 18:James
6: AndyWarhol. FourColored Campbell'sSoupCan (I). 1965. Rosenquist, President Elect. 1960-61. Collections Mnam/Cci. Centre
Collection lleana and Michael Sonnabend. PhotoAKG London. © Georges Pompidou, Pans. Photo Photothequedescollectionsdu
Warhol Foundation. All rights reserved, DACS. 7t: Robert Indiana, Mnam-Cci. All rights reserved, DACS. 19:James Rosenquist, Dishes.
TLahreryAAmledrriiccahnFoDurnedaamtioI,n1F9u6n1.d.MPuhsoetuogmraopfhMo©de1r9n99ArMt,usNeeuwmYoofrk. H1a9m6i4l.tVonA.GAS,olNomeownYRo.rkGuAglglennghhetismreMseursveedu.mDA(SCpSe.ctr2u0m:),Ric1h9a6r5d-66,
ModernArt, NewYork. All rights reserved, DACS 7b: AndyWarhol, NewYork. Solomon R. Guggenheim Museum, NewYork. Photo David
Marilyn Diptych,detail, 1962, PrivateCollection PhotoAKG London Heald6CarmeloGuadagno. © Solomon R. Guggenheim Foundation.
®Warhol Foundation. All nghts reserved. DACS. 8: Roy NewYork. All rightsreserved. DACS. 21: Richard Hamilton. Interior
Lichtenstein, Mr. Bellamy, 1961. Collection ofthe Modern Art II, 1964 Photo© TateGallery, London All nghts reserved, DACS.
MuseumofFortWorth, Museum purchase.The BenjaminJ. Tillar 22: PeterBlake, Cota Girl, 1960-61 Whitworth ArtGallery,
MemorialTrust. Acquired from thecollectionofVernon Nickel. Manchester. Photo BridgemanArt Library. All rights reserved, DACS.
Clovis. NewMexico. 1982. © EstateofRoyLichtenstein. All rights 23: Peter Blake, TheToyShop, 1962 Photo c TateGallery, London
reserved. DACS, 9t: RoyLichtenstein, DrowningGirl, 1963 Museum All rights reserved, DACS 24: PatrickCaulfield.After Lunch, 1975.
ofModernArt, NewYork. PhilipJohnson Fund and giftofMr. & Mrs. PhotoTateGallery, London. © PatrickCaulfield 2000 All rights
BagleyWright Photograph © 1999 MuseumofModernArt, New reserved, DACS 25t: PatrickCaulfield,Viewofthe Bay, 1964
York, ® EstateofRoyLichtenstein All rightsreserved, DACS. FundacaoCalousteGulbenkian. CentrodeArte ModernaJosede
9b; RoyLichtenstein, Sunrise, 1965. Rheinisches Bildarchiv, Cologne. Azeredo Perigao, Lisbon. Photo MariodeOliveira ? PatrickCaulfield
® EstateofRoyLichtenstein. All nghtsreserved, DACS 10: Andy 2000. All nghts reserved. DACS 25b: PatrickCaulfield. Insidea Swiss
Warhol, Triple Elvis. 1962. Saatchi Collection. London Photo Chalet, 1969. Photo © Waddmgton Galleries. London c Patrick
BridgemanArtLibrary ©Warhol Foundation All rights reserved. Caulfield 2000. All nghts reserved, DACS. 26: David Hockney.A
ADbArCaSm.s IFa1m1:ilAyndCoyllWeacrtihoonl..P2h1otoCoBcrai-dCgoelmaanBoAtrtltesL.ibr19ar6y2®HaWrarryhNo.l B27i:ggDearvSipdlaHsohc,kn1e9y6,7.MPr.ho6toM®rs.TaCtlearGkalalenrdy,PeLrocyn,do1n9.70D-a7v1i.dPHhooctkone®y.
F1o9u6n2d,atPriiovna.teAlClolnlgehcttisonr.esPerhvoetdo, BDrAiCdSgemaInlbA:rtAnLdibyraWrayrh©olW,arLihzo6l, TStaeteel,Ga1l9le6r2y..PLroivnadtoenCol©lecDtaivoind. H®ocMkenleyR.am2o8ts: MAlellrRigahmtossr,esMeravned,of
Foundation All rightsreserved, DACS 12: ClaesOldenburg, Floor DACS. 28b:JoeTilson.Transparency, the FiveSenses: Taste, 1968-
Burger, 1962 ArtGalleryofOntario, Toronto. © ClaesOldenburg. 69. Photo© TateGallery, London. All rights reserved, DACS 29t:
I3t: ClaesOldenburg, Lipsticks in PiccadillyCircus, 1966 Photo© Ed Ruscha, Standard Station,Amanllo, Texas, 1963 Hood Museumof
T1a9t6e3GaMliltercyh,elLloCndoSnh,ahe1e3nb,: CTlhaeesBrOelttdeMnibtucrhgel,lSCoofltleFcutrioGno.oIdncH.uPmhoortso, AMrete,keDra.rmCloaustshofCol1l9e5g8e,.iHnamnoevmeorr,yNoefwLeHeamEpnsghliisrhe.©GifEtdoRfuJsacmheas.J.29b:
AKG London. © ClaesOldenburg, 14: Allan DArcangelo. US Jim Dine, Child's BlueWall, 1962 Albnght-KnoxArtGallery, Buffalo,
Highway I - No, 5. 1962. MuseumofModernArt. NewYork. Giftof NewYork, GiftofSeymour H. Knox, 1963. All rightsreserved, DACS,
CONTENTS
•
Roy Lichtenstein 8
Andy Warhol 10
^H
1 - M
Claes Oldenburg
Allan D'Arcangelo 14 B
^^1
J
Tom Wesselmann
James Rosenquist 18
i
1
Richard Hamilton 20
Peter Blake 22 #
Patrick Caulfield 24
David Hockney 26
More Pop 28
Find Out More
Useful words are explained on page 30.
Pop Art dominated the 1960s. It was created by artists who
enjoyed the type of images seen in advertisements, movies,
and other modern forms of communication. Pop artists made
pictures and objects that were as bright and bold as comic
strips or soup cans, celebrating the modern way of life.
the late 1950s, the United States and Britain Most established artists ignored this popular
By
had recovered from World War II and become trend. In the 1950s. American artists were the
prosperous societies. Technology made it possible leading figures of Abstract Expressionism, a type
for factories to mass-produce goods that millions of painting which expressed private emotions.
of ordinary people could afford. Bright, bold Then, m the late 1950s and the 1960s, the Pop
designs and pictures were everywhere - on artists burst in on the scene in the United States
packaging and ads, m movies and magazines, and Britain, producing colorful images of things
and on posters and TV. like cars, hamburgers, and movie stars.
CLAES OLDENBURG I
Leaning Fork with Meatball and Spaghetti
I
1994. painted aluminum
Pop Art was at its height in the 1960s, but some Pop artists
continued to work in the style. Claes Oldenburg made this giant
fork and meatball in 1994. It is around six feet high - more
than ten times lifesize - and is made of metal.
Besides sculptures of food, Oldenburg also made "soft
sculptures" of normally hard objects, such as typewriters.
The sculptures make us see ordinary objects in new ways.
Pop Art was not about private emotions, though
it did make people feel that modern living was
fun. At first, critics disliked Pop, and attacked the
artists for taking over mass-produced images that
were not made by them. But the energy and
cheerfulness of Pop Art appealed to ordinary
people. Pop became accepted, and some Pop
artists were treated like stars.
ROy LICHTENSTEIN
*
Whaam!
1963, acrylic paint on canvas
\
Many Pop artists experimented with new techniques
and materials. Roy Lichtenstein used modern acrylic
paints to make huge, striking pictures that look like
blown-up sections from comic strips. This canvas is
more than twelve feet wide. The colors are simple, flat,
and eye-catching. Everything is outlined in black, so
the images stand out clearly. Some areas are painted in
dots. Lichtenstein did this to make his pictures look
like machine-made color prints.
JW*
IL
used everyday images
Pop
that people were familiar
with from movies, ads. and
other such sources. But most
Pop artists made subtle changes
to the images, or combined
them, to get new effects. Some
of the artists painted in oils,
but many preferred working
with modern materials such as
vinyl, acrylics, or aluminum.
They favored techniques such
as collage - pictures made by
cutting out photos and similar
images and pasting them
together to make a new
composition. And they liked
prints, used to produce the
same picture many times.
ANDY
WARHOL
Four Colored Campbeirs Soup Can
1965. silkscreen print on canvas
Convenience foods (almost ready to eat) were already very popular in the 1960s.
Andy Warhol was a big fan of Campbell's soup. He made many silkscreen prints of
Campbell's distinctive cans, showing the familiar brand name and logo. Here he has
copied a bold image advertising a can of tomato soup. It is big and striking - around
three feet tall. Warhol has changed the label by using different colors. He has also
handpainted some areas, so the lines are slightly wobbly. This shows us that we are
not looking at a mass-produced poster. Warhol has created an original work of art.
