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James Rosenquist Artist Research Paper

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85gradusov.ru 1. James Rosenquist

James Rosenquist was born in 1933 in Grand Forks county, North Dakota in a hospital that is now known as the Happy Dragon Chinese Restaurant. . In 1955 Rosenquist applied for and received a scholarship to the Art Students League in New York. . After the clamour over Pop died down Rosenquist began to develop the surreal narrative of his work. .

2. Arts 3. Sigmar Polke 1. James Rosenquist

James Rosenquist was born in 1933 in Grand Forks county, North Dakota in a hospital that is now known as the Happy Dragon Chinese Restaurant. . In 1955 Rosenquist applied for and received a scholarship to the Art Students League in New York. . After the clamour over Pop died down Rosenquist began to develop the surreal narrative of his work. .

2. Arts

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Direct Essays - James Rosenquist

DirectEssays.com Home » James Rosenquist (3 Papers) 1. The Life of James Rosenquist

James Rosenquist was born in 1933 in Grand Forks county, North Dakota in a hospital that is now known as the Happy Dragon Chinese Restaurant. In 1955 Rosenquist applied for and received a scholarship to the Art Students League in New York. After the clamour over Pop died down Rosenquist began to develop the surreal narrative of his work. Rosenquist recalled that the years the followed (1971-1977) were "Not a very good time in my artwork at all. Rosenquist also created large works combining techniques of lithography, screenprinting, etching, and collage.

2. Arts

"Pop art" is a term used to describe popular art, the word popular meaningeveryday life. Pop art also varied greatly, from soup cans to comic bookart to abstract art. Pop artistis often have "satirical or playfulintents." This would mean that a pop artist tries to express himselfthrough humorous art.

3. "Sigmar Polke"

-1- One of the most important and influential figures on the artistic scene today, Sigmar Polke began his career as a painter in 1963. A number of drawings from the first decade of his activity, most of which has never been seen in the United States, have been assembled for Sigmar Polke: Works on P.

James Rosenquist Online

James Rosenquist

Thyssen-Bornemisza Museum. Madrid
(Images are zoomable; click on the "expand" icon below the detail image)
Smoked Glass. 1962


National Art Databases and Museum Inventories:

Smithsonian American Art Museum National Art Inventories
List of works nationwide from two sources: the Inventory of American Paintings Executed before 1914 and the Inventory of American Sculpture (only a few percent of listings have an accompanying image)


Art Market:
(e.g. records of past sales at auction; sites providing examples of the artist's signature) Art Signature Dictionary NEW!

Christie's Past Sale Archive
(database goes as far back as 1991; images go about as far back as 1999)

Sotheby's Sold Lot Archive
(database goes as far back as 1998; images where permitted by copyright go about as far back as 2001)

Bildindex der Kunst und Architektur (in German)
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PBase Photo Sharing
(Tip: Set the image size to "original" to see photos at their highest resolution)
Photograph of an unidentified painting from the Metropolitan Museum of Art

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Articles and Reference Sites: Encyclopedia Britannica complete article on James Rosenquist
Note: The full version of the article is available only if you follow this link. If you bookmark the article and return later, or if you navigate directly to the Britannica website, you will see a 100-word preview only. Troubleshooting

Union List of Artist Names (Getty Museum)
Reference sheet with basic information about the artist and pointers to other references.

The New Yorker
"James Rosenquist retrospective at the Guggenheim", 2003 review by Peter Schjeldahl

James Rosenquist The Glass Wishes

James Rosenquist, The Glass Wishes

Krapp’s Banana. 1981
aquatint and drypoint
85 x 67 cm (33 7/16 x 26 3/8 in.)
Gift of Gemini G.E.L. and the Artist, 1988

© James Rosenquist and Gemini G.E.L./VAGA, New York, NY

Appearance. 1981
aquatint, drypoint, and etching
85 x 66.8 cm (33 7/16 x 26 5/16 in.)
Gift of Gemini G.E.L. and the Artist, 1988

© James Rosenquist and Gemini G.E.L./VAGA, New York, NY

James Rosenquist, The Glass Wishes

L’Amour, 1981
aquatint and etching
85.1 x 66.2 cm (33 1/2 x 26 1/16 in.)
Gift of Gemini G.E.L. and the Artist, 1988

© James Rosenquist and Gemini G.E.L./VAGA, New York, NY

Paper Head on a Nuclear Pillow. 1982
aquatint
85.7 x 66.6 cm (33 3/4 x 26 1/4 in.)
Gift of Gemini G.E.L. and the Artist, 1988

© James Rosenquist and Gemini G.E.L./VAGA, New York, NY

While the Earth Revolves at Night. 1982
aquatint
85.1 x 66.4 cm (33 1/2 x 26 1/8 in.)
Gift of Gemini G.E.L. and the Artist, 1988

© James Rosenquist and Gemini G.E.L./VAGA, New York, NY

Plume. 1982
aquatint and etching
85.1 x 67.3 cm (33 1/2 x 26 1/2 in.)
Gift of Mr. and Mrs. Roger P. Sonnabend, 1986

© James Rosenquist and Gemini G.E.L./VAGA, New York, NY

Amusement Stops. 1982
aquatint and etching
85.2 x 66.6 cm (33 9/16 x 26 1/4 in.)
Gift of Gemini G.E.L. and the Artist, 1988

© James Rosenquist and Gemini G.E.L./VAGA, New York, NY

Leaky Neck. 1981
aquatint
83.8 x 67 cm (33 x 26 3/8 in.)
Gift of Gemini G.E.L. and the Artist, 1988

© James Rosenquist and Gemini G.E.L./VAGA, New York, NY

Beach. 1981
aquatint and etching
84.8 x 67 cm (33 3/8 x 26 3/8 in.)
Gift of Gemini G.E.L. and the Artist, 1988

© James Rosenquist and Gemini G.E.L./VAGA, New York, NY

On Stage. 1981
aquatint and drypoint
85.3 x 67 cm (33 9/16 x 26 3/8 in.)
Gift of Gemini G.E.L. and the Artist, 1988

© James Rosenquist and Gemini G.E.L./VAGA, New York, NY

Blood in Warm Water. 1981
aquatint
85 x 67.1 cm (33 7/16 x 26 7/16 in.)
Gift of Gemini G.E.L. and the Artist, 1988

© James Rosenquist and Gemini G.E.L./VAGA, New York, NY

“Absolut Perfection,” Absolut Vodka advertisement, 1980. From Richard W. Lewis, Absolut Book: The Absolut Vodka Advertising Story (North Clarendon, VT, 1996)

According to James Rosenquist (American, born 1933). this series addresses “the trap of trying to extract. wishes and desires from a bottle.” Typically for the artist, the prints are rife with references to fine art: he quotes Leonardo da Vinci’s Mona Lisa. and recalls Pablo Picasso’s early still life collages and Rene Magritte’s painted bottles. The Glass Wishes also jibe with popular culture: the totemic bottles and serial format rhyme with an iconic series of Absolut vodka advertisements first published in 1980. The allure of alcohol marketing is both invoked and critiqued in Rosenquist’s prints, which juxtapose images of beauty and purity with motifs of violence and loss. Krapp’s Banana and On Stage. for instance, hint at a before-and-after scenario in which something precious, sensual, and vulnerable has emerged, but at destructive cost. This pair refers to Samuel Beckett’s absurdist screenplay Krapp’s Last Tape. in which the protagonist, Krapp, laments a life wasted drinking and, of all things, eating bananas. Instead of something like “Absolut Perfection,” Rosenquist’s series would appear to offer the more sober assessment, “Absolute Krapp.”

James Rosenquist, Appearance (detail), 1981, aquatint, drypoint, and etching, Gift of Gemini G.E.L. and the Artist, 1988. © James Rosenquist and Gemini G.E.L./VAGA, New York, NY (click on detail for full image)

As one of the pioneers of pop art, Rosenquist has regularly drawn on advertisements for his imagery. He has recalled painting dozens of Schenley whiskey bottles during his early career as a commercial sign painter, an experience that may have fueled his interest in the form and suggestive power of the bottle. Rosenquist has also referred to his upbringing in a family of “drinking Swedes” and recalls accompanying his uncle to Alcoholics Anonymous meetings. “I heard all of these weird stories—tales of alcoholism. So, it was the bottle intact and then the bottle broken.” This language parallels the imagery of The Glass Wishes, particularly in Appearance. in which a golden pear nestles amidst the shards of a shattered bottle. Similarly, the skull in Leaky Neck (a pun on decapitation, conflating the neck of a bottle and a body) is a traditional symbol of mortality; the print reads as a memento mori. a reminder that life is fleeting and that everyone must die.

James Rosenquist, While the Earth Revolves at Night (detail), 1982, aquatint, Gift of Gemini G.E.L. and the Artist, 1988. © James Rosenquist and Gemini G.E.L./VAGA, New York, NY (click on detail for full image)

Rosenquist has said that he conceived of a number of the prints in The Glass Wishes in pairs. For example, While the Earth Revolves at Night and Plume are juxtaposed in a sketch the artist made of ideas for this series. The pair seems to address the romantic myth of the artist, which is tied to an image of hard-drinking excess and creative epiphany. Rosenquist has noted that the erotically charged red-lacquered fingernail with a fountain pen nib suggests “the author [who] writes all night.” In Plume. the pink-tinged quill suggests a fragile and beautiful idea born of the booze-fueled night, or, as Rosenquist has put it, “the bottle is broken; the idea appears.”

Banner image: James Rosenquist, Plume (detail), 1982, aquatint and etching, Gift of Mr. and Mrs. Roger P. Sonnabend, 1986. © James Rosenquist and Gemini G.E.L./VAGA, New York, NY

James Rosenquist: Illustrious Works on Paper, Illuminating Paintings

James Rosenquist: Illustrious Works on Paper, Illuminating Paintings Postal Plaza Gallery / Nov. 10, 2014 - May 9, 2015

James Rosenquist is the first in a series of ambitious, annual exhibitions at Oklahoma State University Museum of Art's Postal Plaza Gallery beginning in the fall of 2014. Exploring key figures who have worked in New York during the past half century, the project provides pivotal teaching opportunities and engagement for the OSU community as well as the greater Midwest region. Curated by Sarah C. Bancroft - co-curator of the artist's full-career retrospective at the Guggenheim Museum in 2003 - this focused survey exhibition elucidates the arc of seminal American artist James Rosenquist's multifarious career. James Rosenquist became well known in the 1960s as an American Pop artist alongside contemporaries Andy Warhol, Roy Lichtenstein, and Claes Oldenburg, and has continued creating seminal new work for the past five decades. Throughout his career, Rosenquist has devoted his talents to printmaking, collage, drawing, and painting.

Key paintings are included in each section of the exhibition, complementing the array of works on paper, and demonstrating his facility and artistic prowess in all media. The exhibition is accompanied by a fully-illustrated exhibition catalogue, with a scholarly essay by Curator Sarah Bancroft. This serves as the first catalogue in a three-volume set, to be followed by exhibition catalogues on artists Kiki Smith and Jasper Johns in 2015 and 2016 respectively.

Image: Stowaway Peers Out At The Speed of Light. 2001, James Rosenquist, 46 1/4 in. x 105 1/2 in. Edition 40, Published by Universal Limited Art Editions © James Rosenquist/ Universal Limited Art Editions/ Licensed by VAGA New York, NY.

November 10, 2014 to May 09, 2015

James Rosenquist

James Rosenquist

Over his long career, artist James Rosenquist has created an important body of works which explore new boundaries in printmaking. The artist's first residency at Graphicstudio dates from 1971, and since then he has created over thirty works in collaboration with the atelier.

In the 1980s, Rosenquist created a series of large scale mixed media prints including The Kabuki Blushes . Crosshatch and Mutation . Flowers and Females . Shriek . and Sister Shrieks . These prints set a textured, loose brushwork of painting against a smooth, tight lithographic surface. Rosenquist hand-painted images of flowers onto Plexiglas plates to make monoprints, and then created lithographic prints from his airbrushed images of women's faces. Finally, the lithographs were slashed into slivers and collaged onto the monoprints. The contrasting techniques and the clashing imagery of flowers and faces create high drama in these big, vibrantly colored prints.

James Rosenquist: A Retrospective Exhibition, will be on view at the Menil Collection and the Museum of Fine Arts, Houston, May 17–August 17, 2003; Solomon R. Guggenheim Museum, New York, October–January 2004; and the Guggenheim Bilbao, July–October 2004.

For about James Rosenquist, visit his personal website .

Questions? If you have any questions about Graphicstudio or a work of art you see on this site please email Graphicstudio. If you have difficulty with any part of this site, please email the Webmaster .

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The electronic images available on this site are subject to copyright and may be covered by other restrictions as well. The images are made available to the general public as a representation of work produced at USF Graphicstudio. Copy or redistribution in any manner for commercial use is not permitted. Anyone wishing to use any of these images for commercial use, publication, or for any purpose other than personal fair use must first request and receive prior written permission from the University of South Florida Institute for Research in Art. Please contact Director of Marketing and Sales Kristin Soderqvist at 813.974.5871 for more information.

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James Rosenquist, mixed media, Paper Suit

Paper Suit

James Rosenquist was born in North Dakota, USA in 1933. In 1956 he met artists such as Jasper Johns, Ellsworth Kelly and Robert Rauschenberg - they inspired each other. Until the 60s Rosenquist earned living by painting and designing advertising posters. He was one of the most important representative of the emerging pop art. In 1966 James Rosenquist was 'The Man in the Paper Suit‘ (NY Times); the artist wore a brown suit from paper by the fashion designer Horst to various exhibitions and gallery openings.
This obviously striking and humorous aspect in the installation at the Pop-Artist himself became Pop-Art or rather: a Pop-Suit.
Rosenquist was referring to the then new availability and the rapid planned loss of property value.

TITLE: Paper Suit YEAR: 1998 FORMAT: approx. 42 cm (convert to inch) MEDIUM: mixed media – Coated paper EDITION: 100 (What is this?) Paper Suit (jacket and pants) by Boss, including box with scissors PRICE: € 1.000,00* inc. tax

approx. € 840,34 excl. tax

* due shipping costs are not included in the above price, if you don't use your own shipping. we are happy to quote and organize it for you.

Delivery time: up to 14 days.

OTHER WORKS OF JAMES ROSENQUIST

JAMES ROSENQUIST: Illustrious Works on Paper, Illuminating Paintings

JAMES ROSENQUIST: Illustrious Works on Paper, Illuminating Paintings

F-111 (west, south, east, north), 1974. Courtesy of James Rosenquist. Image courtesy of the artist. © 2015 James Rosenquist/Licensed by VAGA, New York. Used by permission of the artist. All rights reserved. Reification, 1961. Courtesy of James Rosenquist. Image courtesy of the artist. © 2015 James Rosenquist/Licensed by VAGA, New York. Used by permission of the artist. All rights reserved. The Geometry of Fire, 2011. Courtesy of James Rosenquist. Image courtesy of the artist. © 2015 James Rosenquist/Licensed by VAGA, New York. Used by permission of the artist. All rights reserved. source for The Geometry of Fire, 2011. Courtesy of James Rosenquist. Image courtesy of the artist. © 2015 James Rosenquist/Licensed by VAGA, New York. Used by permission of the artist. All rights reserved.

SUArt Galleries

August 20 – November 22, 2015

One of the most influential living American artists, James Rosenquist became well known in the 1960s as a leader in the American Pop art movement alongside contemporaries Andy Warhol, Roy Lichtenstein, and Claes Oldenburg. For more than five decades Rosenquist has created seminal work in a variety of media, employing printmaking, collage, drawing, and painting. This exhibition presents over 35 examples from the artist’s long career, including examples of his earliest abstractions from the 1950s to his exploration and evolution into Pop Art as well as recent works that epitomize his distinct and powerful style.

Iconic large scale prints and works on paper, like F-111 (North, West East South). 1974, and Space Dust. 1989, alongside monumental works like the 11 by 25 foot Geometry of Fire. 2011, are balanced with rare sketches, studies and collages that give unique insight into the artistic process.

Developed in collaboration with Oklahoma State Museum of Art and curated by Sarah C. Bancroft, co-curator of the artist’s 2003 retrospective at the Guggenheim Museum, Illustrious Works on Paper, Illuminating Paintings exemplifies the indelible impact Rosenquist has had, and continues to have, on American art.

James Rosenquist: Illustrious Works on Paper, Illuminating Paintings will be included in the 2015 Syracuse Symposium Networks. Additional programing information will be announced closer to the opening of the exhibition.