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Poslao: 02 Jul 2009 18:09
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- Pridružio: 07 Avg 2008
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Roj Lihtenštajn, Drowning Girl, 1963.
Citat:In 1961 Lichtenstein began his first Pop paintings using cartoon images and techniques derived from the appearance of commercial printing. This phase would continue to 1965 and included the use of advertising imagery suggesting consumerism and homemaking. His first work to feature the large-scale use of hard-edged figures and Benday Dots was Look Mickey (1961, National Gallery of Art, Washington, D.C.). This piece came from a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; "I bet you can't paint as good as that, eh, Dad?"
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Rather than attempt to reproduce his subjects, his work tackled the way mass media portrays them. Lichtenstein would never take himself too seriously however: "I think my work is different from comic strips- but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art". When his work was first released, many art critics of the time challenged its originality. More often than not they were making no attempt to be positive. Lichtenstein responded to such claims by offering responses such as the following: "The closer my work is to the original, the more threatening and critical the content". However, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by any rational line of argument".
http://en.wikipedia.org/wiki/Roy_Lichtenstein
Citat:In both of them, Roy Lichtenstein exploited the same technique. The comic strip was vastly enlarged, and to complete the illusion, he used a special device called " benday screen " in order to simulate the dots that appear when one enlarges a printed drawing. A large metal screen was applied on the painting, used as a stencil. He also always drew large black outlines and used a reduced set of bright simple colours. Large printed letters stood out clearly. This type of construction enabled him to create big unified surfaces.
http://gala.univ-perp.fr/~dgirard/Exposes/roylichenstein/roylichenstein.htm
Low visual culture + context = high art
Saten, 'ubode' mi omiljenog. 
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Poslao: 02 Jul 2009 22:17
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- Ričard
- Lavlje srce
- Supermoderator
- Zver!
- Electro maintenance engineer
- Pridružio: 28 Nov 2006
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Napisano: 02 Jul 2009 22:05
Ovo bi kao je trebalo da znam.
Mozda Zvonimir Santrac. Nisam siguran, ali mislim da se ideja o delu rodila pre cca 7 godina, u umetnickoj koloniji u mom sadasnjem preduzecu.
Dopuna: 02 Jul 2009 22:17
Malo o umetniku: http://www.santraczvono.vrsac.com/
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Poslao: 02 Jul 2009 22:36
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Vidi sad, i ričard počeo da otima linkove. 
Trebalo, trebalo, i osvetlao si obraz i Vrščanima i preduzeću 
Zvonimir Santrač, Zid, 1998.
Ješa Denegri Devedesete: Teme srpske umetnosti ::... Santrač će na Prestupničkim formama devedesetih u zgradi vršačke Konkordije podići više metara dugački i preko normalne ljudske mere visoki zid od cigli između kojih štrče oštre, po svakog ko ih eventualno dodirne, zbog mogućnosti povrede opasne krhotine lomljenog stakla. Rad za Koji će biti rečeno da to što jeste, dakle zid i Zid:
"Jeste i stvarno i simbolički: zid kao ograda, prepreka, pregrada, primarna gradnja koja nasilno deli prostor, zid koji ujedno može da bude i stratište, mesto egzekucije, ali i zaklon, pribežište, mesto neke elementarne zaštite. No zid je, ponovo simbolički, takođe i tvorevina koju treba razoriti, srušiti, kako bi se opet uspostavilo povezivanje, prohod, relacija, komunikacija..."
Ričard, izvoli 
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Poslao: 03 Jul 2009 09:26
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- saten
- Legendarni građanin
- Pridružio: 05 Jan 2008
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- Gde živiš: Montmartre Quarter :)
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Apoteoza Lukijana Mušickog  A slikar je Dimitrije Avramović..
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Izvoli 
