Bouncing Marbles, Bouncing Apple, Bouncing Olive
Oil on canvas
"In Bouncing Marbles, Bouncing Apple, Bouncing Olive, Edward Ruscha explores an obscure language of visual relationships. He divorces the objects depicted from their everyday contexts by placing them within an infinite, surreal space. The relationships that exist among the marbles, apples and olive are equally interpretations. The marbles might refer to childhood, the olive to hors d'oeuvres and martinis and the apple to the Fall of Adam and Eve. Such a reading makes this a meditation on the loss of innocence. Alternatively, Ruscha may have constructed a playful dialog among round forms or a treatise on Newton's law."
Starboat (Tugboat and Riverboat) 1966
Oil on canvas
Starboat (Tugboat and Riverboat) is painted with Thiebaud's characteristic sensuous colors and thick impasto. The boat and its reflection are rendered with delicate brush strokes. Sea and sky, boldly defined by a yellow and green horizon line, are laid out in broad swaths with a palette knife. While Thiebaud's work has been associated with Pop art because of its focus on the everyday objects of popular culture, he sees it as part of a long realist tradition.
Still Life with Brushes, Shell and Star Fish, 1972
Roy Lichtenstein was one of the leading painters of the Pop Art movement. During the 1960s he translated banal advertisements and adventure comic strips into large-scale paintings, using bright, flat colors and hard-edge, precise drawing. Benday dots, integral to the photo-mechanical printing process, are exaggerated to the point of becoming design elements in the art.
Still Life with Brushes, Shell and Star Fish belongs to a series of paintings by Lichtenstein that investigates the styles and subjects of art history. In this painting, Lichtenstein defies our expectations for the still life by rendering it in the visual language of the comic strip. He reminds us that the process of mechanical reproduction reduces all works of art to simple arrangements of dots. …
"What interests me is to paint the kind of anti-sensitivity that impregnates modern civilization. I think art since Cezanne has become extremely romantic and unrealistic, feeding on art. It is Utopian. It has less and less to do with the world. It looks inward — neo-Zen and all that. Pop Art looks out into the world. It doesn't look like a painting of something, it looks like the thing itself."