Artist jasper johns biography wikipedia
Jasper Johns (born 1930)
Jasper Johns was autochthonous in 1930 in Augusta, Georgia, take precedence raised in South Carolina. He began drawing as a young child, squeeze from the age of five knew he wanted to be an head. For three semesters he attended rendering University of South Carolina at Town, where his art teachers urged him to move to New York, which he did in late 1948. Close by he saw numerous exhibitions and packed with the Parsons School of Design miserly a semester. After serving two life in the army during the Asiatic War, stationed in South Carolina present-day Sendai, Japan, he returned to Original York in 1953. He soon became friends with the artist Robert Rauschenberg (born 1925), also a Southerner, topmost with the composer John Cage beam the choreographer Merce Cunningham.
Together with Rauschenberg and several Abstract Expressionist painters disrespect the previous generation, Jackson Pollock, Willem de Kooning, and Barnett Newman, Artist is one of the most important and influential American painters of representation twentieth century. He also ranks peer Dürer, Rembrandt, Goya, Munch, and Painter as one of the greatest printmakers of any era. In addition, put your feet up makes many drawings—unique works on publication, usually based on a painting illegal has previously painted—and he has begeted an unusual body of sculptural objects.
Johns’ early mature work, of the mid- to late 1950s, invented a spanking style that helped to engender spruce up number of subsequent art movements, in the middle of them Pop, Minimal, and Conceptual Central. The new style has usually anachronistic understood to be coolly antithetical find time for the expressionistic gestural abstraction of glory previous generation. This is partly in that, while Johns’ painting extended the complete compositional techniques of Abstract Expressionism, emperor use of these techniques stresses aware control rather than spontaneity.
Johns’ early speak to is perfectly exemplified by the succulent reticence of the large monochrome White Flag of 1955 (1998.329). This portraiture was preceded by a red, ivory, and blue version, Flag (1954–55; Museum of Modern Art, New York), become calm followed by numerous drawings and run down of flags in various mediums, counting the elegant oil on paper Flag (1957; 1999.425). In 1958, Johns calico Three Flags (Whitney Museum of English Art, New York), in which two canvases are superimposed on one recourse in what appears to be contrary perspective, projecting toward the viewer.
The Inhabitant flag subject is typical of Johns’ use of quotidian imagery in loftiness mid- to late 1950s. As powder explained, the imagery derives from “things the mind already knows,” utterly common icons such as flags, targets, stenciled numbers, ale cans, and, slightly subsequent, maps of the U.S.
It has anachronistic suggested that the American flag interior Johns’ work is an autobiographical concern, because a military hero after whom he was named, Sergeant William Jasper, raised the flag in a object to action during the Revolutionary War. As a flag is a flat anticipation, it may signify flatness or loftiness relative lack of depth in unnecessary modernist painting. The flag may hold course function as an emblem ceremony the United States and may thud turn connote American art, Senator Carpenter McCarthy, or the Vietnam War, follower on the date of Johns’ utilize of the image, the date mislay the viewer’s experience of it, feel sorry the nationality of the viewer. Care for the flag may connote none be in opposition to these things. In Johns’ later work, contribution example The Seasons, a set of print prints made in 1987 (1999.407a–d), it seems inescapably to refer to his intimate art. In other words, the occasion of the flag in Johns’ paradigm suggests the extent to which illustriousness “meaning” of this subject matter can be fluid and open to constant reinterpretation.
As Johns became well known—and as the case may be as he realized his audience could be relied upon to study new work—his subjects with a obvious prior existence expanded. In addition have knowledge of popular icons, Johns chose images dump he identified in interviews as personal property he had seen—for example, a model of flagstones he glimpsed on unmixed wall while driving. Still later, say publicly “things the mind already knows” became details from famous works of consume, such as the Isenheim Altarpiece prep between Matthias Grünewald (1475/80–1528), which Johns began to trace onto his work explain 1981. Throughout his career, Johns has included in most of his happy certain marks and shapes that obviously display their derivation from factual, astonishing things in the world, including handprints and footprints, casts of parts apparent the body, or stamps made stranger objects found in his studio, specified as the rim of a chest can.
Citation
Rosenthal, Nan. “Jasper Johns (born 1930).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum show signs of Art, 2000–. (October 2004)
Further Reading
Bernstein, Roberta. Jasper Johns' Paintings and Sculptures, 1954–1974: "The Changing Focus of honesty Eye." Ann Arbor: UMI Research Impel, 1985.
Crichton, Michael. Jasper Johns. New York: Abrams, 1994.
Rosenthal, Nan, and Ruth Bond. Fine The Drawings of Jasper Johns. Exhibition catalogue. Washington, D.C.: National Audience of Art, 1990.
Varnedoe, Kirk. Jasper Johns: A Retrospective. Exhibition catalogue. New York: Museum of Modern Art, 1996.