Sentences with phrase «as a billboard painter»

Oldenburg dealt in everyday objects, blowing up hamburgers to abnormal size and showcasing sculptures of comfort foods, while Rosenquist took his background as a billboard painter to imagine glamorous, surrealistic mash - ups of candy - colored cars, smiling faces, or advertisements.

Indeed, much of Rosenquist's subject matter stems from the three years he spent working as a billboard painter between 1957 - 60.

His inspiration came from his job as a billboard painter of American adverts.

James Rosenquist came to prominence among New York School Pop Art figures like Roy Lichtenstein, Jasper Johns and Robert Rauschenberg is well known for his large - scale, fragmented works that bring the visual language of commercial painting onto canvas, from 1957 - 60, Rosenquist earned his living as a billboard painter.

In 1955, aged 21, he moved to New York City to study at the Art Students League, before working as a billboard painter.

The curator mentioned the technique Lichtenstein learned as a billboard painter.

The inspiration for his compositional style and scale came from Rosenquist's experience as a billboard painter in the American Midwest and in New York City in the 1950s.

Leading Pop artist James Rosenquist — who came to prominence among New York School figures like Roy Lichtenstein, Jasper Johns, Robert Rauschenberg, and Willem de Kooning — is well known for his large - scale, fragmented works that bring the visual language of commercial painting onto canvas (notably, from 1957 - 60, Rosenquist earned his living as a billboard painter).

Working both as a billboard painter and a comic strip artist, Samba employed the conventions of both genres, yet was forced to resort to painting on sacking cloth when canvas became unaffordable.

Supporting himself as a young artist, Rosenquist worked as a billboard painter, an experience which informed the work he has become most known for.

Born in 1933, James Rosenquist began his career in the 1950s as a billboard painter.

His artistic education led to a brief, but significant, career as a billboard painter, where he spent his days perched on scaffolding high above Times Square.

Indeed nearly all his best - known Pop works are based on his experience as a billboard painter, familiar with 60 - foot - wide images of refrigerators, macaroni salads and women's lipsticked lips.

Not exact matches

Describing himself as an «American painter of signs,» Indiana has developed a bold, graphic style inspired by road signs and billboards, reflecting his interest in Americana.

In fact, Rauschenberg and Johns belong to abstract expressionism (with Jim Dine a variation on their themes), Rosenquist is a billboard Surrealist who marries Magritte's paint handling to collage space, and Lichtenstein is a hard - edge painter, whose two - dimensional surface patterns and crisp outlines derive as much from Kelly as from comic strips.

Long before painters such as Andy Warhol and Ed Ruscha, Davis was painting soap boxes, billboards and gas pumps with a tongue - in - cheek wit that was ahead of his time.

The collage - like paintings from the 1960s, which clearly reflect Rosenquist's background as a painter of enormous billboards on Times Square, will be shown along with biographically motivated paintings from the 1970s and interpretations of cosmic phenomena in his later large - scale paintings.

Sometimes his paintings can recall Surrealists like Frida Kahlo or Dalí, other times Peter Saul or Neo Rausch (or Thomas Bayrle), but they are always unmistakably his own, in part because they are often trenchant satires of African politics and mores — broadsides that draw on his past as both a cartoonist and a billboard painter.

In 1960, James Rosenquist translated his training as a commercial billboard painter into fine art when he began creating paintings of monumental scale that collaged advertising and magazine images from all realms of American life into dizzying display of the country's culture of mass mediation.

American artist Chuck Close rose as a prominent Photorealist painter, who made his name with huge, billboard - sized paintings of himself and his friends, reproduced from photographs in painstaking detail, seen in the minutely detailed texture of the skin and hair of his subjects.

Smaller in scale than those paintings of her 2014 debut exhibition, the new work matches in surreal ebullience their predecessors, praised by Roberta Smith as «big, boisterous semi-abstract canvases (that) exude an impressive confidence... like close - ups of billboards or a tour through some outsize undergrowth in which nature has merged with several brands of abstraction, from early American Modernism to Color Field painting... (Silva) is already is tackling a lot with an astuteness and aplomb that make her a painter to watch.»

His work references his early creative career as a sign and billboard painter, and the media soaked images of popular culture.

Rosenquist worked as a commercial artist and sign - painter in the late 1950s and put this training to use in vast, billboard - style canvases which appropriated images from advertising.

As a member of the union, Rosenquist would paint billboards around Times Square, ultimately becoming the lead painter for Artkraft ‐ Strauss and painting displays and windows across Fifth Avenue.