Articles similaires à Art Card: Target with Four Faces (Hand signed and inscribed by Jasper Johns)

Jasper Johns - Jasper Johns, Target with Four Faces (ULAE 55), sérigraphie Pop Art emblématique des années 1960

Jasper Johns - Carte d'art : The Seasons (Spring), carte postale, signée de la main de Jasper Johns, encadrée

Jasper Johns - Target avec affiche lithographique Four Faces (signée à la main et datée par Jasper Johns)

Jasper Johns - 0-9, numéro 2 - Lithographie Pop Art de Jasper Johns

Jasper Johns - Cible

Vous voulez plus d'images ou de vidéos ?

Demander au vendeur plus d'images ou de vidéos

1 sur 5

Jasper Johns
Art Card: Target with Four Faces (Hand signed and inscribed by Jasper Johns)
1976

Name: Art Card: Target with Four Faces (Hand signed and inscribed by Jasper Johns)
Brand: Jasper Johns
Price: 3174.43 CHF
Availability: InStock
Rating: 5 (65 reviews)

3 408,54 €

À propos de cet article

Jasper Johns Art Card: Target with Four Faces (Hand signed and inscribed by Jasper Johns) Offset lithogaph card, signed, dated and inscribed by Jasper Johns Boldly signed and inscribed "For Tom Grafton" and dated 21 Sept. '76 in black marker by Jasper Johns This postcard is based upon Jasper Johns' original 1955 Target with Four Faces mixed media work in the permanent collection of MoMA, donated by the famous art collectors, NYC taxi magnates Ethel and Robert Scull. This postcard is warmly inscribed by Jasper Johns to renowned autograph collector Tom Grafton who amassed one of the most distinguished colleections of celebrity autographs during the 1970s and 1980s Provenance: Collection and estate of Tom Grafton This work has been elegantly floated and framed in a museum quality wood frame under UV plexiglass. Measurements: Framed 11 inches (vertical) by 9 inches (horizontal) by 1.5 inches Card: 6 inches (vertical) by 4 inches (horizontal) Below is MoMA's description of Johns Target piece: Encaustic on newspaper and cloth over canvas surmounted by four tinted-plaster faces in wood box with hinged front For Johns the common shooting target is one of the many "things the mind already knows." Using familiar objects "gives me room to work on other levels," he has explained. Though the target is closely linked with the acts of looking and aiming, the concentric circles of Johns's version are obscured and the surface made tactile with encaustic—pigment mixed with beeswax—on collage. Mounted above the target, four plaster casts taken from a single model over a period of several months are arranged in nonsequential order. A hinged wooden lid offers the option of shutting away the small niches that hold these cropped, eyeless faces. Jasper Johns Biography: Jasper Johns was born in 1930 in Augusta, Georgia, and raised in South Carolina. He began drawing as a young child, and from the age of five knew he wanted to be an artist. For three semesters he attended the University of South Carolina at Columbia, where his art teachers urged him to move to New York, which he did in late 1948. There he saw numerous exhibitions and attended the Parsons School of Design for a semester. After serving two years in the army during the Korean War, stationed in South Carolina and Sendai, Japan, he returned to New York in 1953. He soon became friends with the artist Robert Rauschenberg (born 1925), also a Southerner, and with the composer John Cage and the choreographer Merce Cunningham. Together with Rauschenberg and several Abstract Expressionist painters of the previous generation, Jackson Pollock, Willem de Kooning, and Barnett Newman, Johns is one of the most significant and influential American painters of the twentieth century. He also ranks with Dürer, Rembrandt, Goya, Munch, and Picasso as one of the greatest printmakers of any era. In addition, he makes many drawings—unique works on paper, usually based on a painting he has previously painted—and he has created an unusual body of sculptural objects. Johns’ early mature work, of the mid- to late 1950s, invented a new style that helped to engender a number of subsequent art movements, among them Pop, Minimal, and Conceptual Art. The new style has usually been understood to be coolly antithetical to the expressionistic gestural abstraction of the previous generation. This is partly because, while Johns’ painting extended the allover compositional techniques of Abstract Expressionism, his use of these techniques stresses conscious control rather than spontaneity. Johns’ early style is perfectly exemplified by the lush reticence of the large monochrome White Flag of 1955 ( 1998.329 ). This painting was preceded by a red, white, and blue version, Flag (1954–55; Museum of Modern Art, New York), and followed by numerous drawings and prints of flags in various mediums, including the elegant oil on paper Flag (1957; ( 1999.425 )). In 1958, Johns painted Three Flags (Whitney Museum of American Art, New York), in which three canvases are superimposed on one another in what appears to be reverse perspective, projecting toward the viewer. The American flag subject is typical of Johns’ use of quotidian imagery in the mid- to late 1950s. As he explained, the imagery derives from “things the mind already knows,” utterly familiar icons such as flags, targets, stenciled numbers, ale cans, and, slightly later, maps of the U.S. It has been suggested that the American flag in Johns’ work is an autobiographical reference, because a military hero after whom he was named, Sergeant William Jasper, raised the flag in a brave action during the Revolutionary War. Because a flag is a flat object, it may signify flatness or the relative lack of depth in much modernist painting. The flag may of course function as an emblem of the United States and may in turn connote American art, Senator Joseph McCarthy, or the Vietnam War, depending on the date of Johns’ use of the image, the date of the viewer’s experience of it, or the nationality of the viewer. Or the flag may connote none of these things. In Johns’ later work, for example The Seasons, a set of intaglio prints made in 1987 ( 1999.407a–d ), it seems inescapably to refer to his own art. In other words, the meaning of the flag in Johns’ art suggests the extent to which the “meaning” of this subject matter may be fluid and open to continual reinterpretation. As Johns became well known—and perhaps as he realized his audience could be relied upon to study his new work—his subjects with a demonstrable prior existence expanded. In addition to popular icons, Johns chose images that he identified in interviews as things he had seen—for example, a pattern of flagstones he glimpsed on a wall while driving. Still later, the “things the mind already knows” became details from famous works of art, such as the Isenheim Altarpiece by Matthias Grünewald (1475/80–1528), which Johns began to trace onto his work in 1981. Throughout his career, Johns has included in most of his art certain marks and shapes that clearly display their derivation from factual, unimagined things in the world, including handprints and footprints, casts of parts of the body, or stamps made from objects found in his studio, such as the rim of a tin can. -Courtesy Metropolitan Museum of Art

Créateur:
Jasper Johns (1930, Américain)
Année de création:
1976
Dimensions:
Hauteur : 15,24 cm (6 po)Largeur : 10,16 cm (4 po)
Support:
Carte postale
Mouvement et style:
Pop Art
Période:
1970-1979
État:
Ships framed.
Adresse de la galerie:
New York, NY
Numéro de référence:
1stDibs : LU1745217267672

Jasper Johns
graphiques et dessins au Musée de Louisiane, signés à la main par Jasper Johns, 1992

5 267 €

Prix sur demande

Jasper JohnsArt Card: Target with Four Faces (Hand signed and inscribed by Jasper Johns)1976

À propos de cet article

Jasper Johns

Plus d'articles de ce vendeur

années 1960, Pop Art, Estampes - Abstrait

Jasper JohnsJasper Johns, Target with Four Faces (ULAE 55), sérigraphie Pop Art emblématique des années 1960, 1968

années 1980, Pop Art, Estampes - Abstrait

Jasper JohnsCarte d'art : The Seasons (Spring), carte postale, signée de la main de Jasper Johns, encadrée, 1987

années 1960, Pop Art, Estampes - Abstrait

Jasper JohnsTarget avec affiche lithographique Four Faces (signée à la main et datée par Jasper Johns), 1968

années 1990, Pop Art, Estampes - Abstrait

Jasper JohnsImpression du Whitney Museum signée à la main et inscrite par Jasper Johns au conservateur du musée, 1991

années 1970, Pop Art, Estampes - Abstrait

Jasper JohnsPeinture avec deux boules Kunsthalle, Berlin, signée et inscrite à la main, encadrée, 1971

années 1990, Pop Art, Estampes - Abstrait

Jasper Johnsgraphiques et dessins au Musée de Louisiane, signés à la main par Jasper Johns, 1992

Suggestions

20ième siècle, Modernisme américain, Estampes et éditions

Jasper JohnsCible à quatre visages, 1979

années 1960, Pop Art, Plus d'Estampes

Jasper Johns0-9, numéro 2 - Lithographie Pop Art de Jasper Johns, 1963

20ième siècle, Pop Art, Estampes et éditions

Jasper JohnsCible, 1970

années 1970, Estampes et éditions

Jasper JohnsLithographie « Souvenir I » signée et numérotée à la main en couleurs, 1972

20ième siècle, Abstrait, Estampes - Abstrait

Jasper JohnsJasper Johns SOUVENIR I Lithographie, 1972

années 1970, Expressionnisme abstrait, Estampes - Abstrait

Jasper JohnsTarget, de Meyer Shapiro, 1973

Jasper Johns
Art Card: Target with Four Faces (Hand signed and inscribed by Jasper Johns)
1976

Jasper Johns
Jasper Johns, Target with Four Faces (ULAE 55), sérigraphie Pop Art emblématique des années 1960, 1968

Jasper Johns
Carte d'art : The Seasons (Spring), carte postale, signée de la main de Jasper Johns, encadrée, 1987

Jasper Johns
Target avec affiche lithographique Four Faces (signée à la main et datée par Jasper Johns), 1968

Jasper Johns
Impression du Whitney Museum signée à la main et inscrite par Jasper Johns au conservateur du musée, 1991

Jasper Johns
Peinture avec deux boules Kunsthalle, Berlin, signée et inscrite à la main, encadrée, 1971

Jasper Johns
graphiques et dessins au Musée de Louisiane, signés à la main par Jasper Johns, 1992

Jasper Johns
Cible à quatre visages, 1979

Jasper Johns
0-9, numéro 2 - Lithographie Pop Art de Jasper Johns, 1963

Jasper Johns
Cible, 1970

Jasper Johns
Lithographie « Souvenir I » signée et numérotée à la main en couleurs, 1972

Jasper Johns
Jasper Johns SOUVENIR I Lithographie, 1972

Jasper Johns
Target, de Meyer Shapiro, 1973