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Rosenquist created F-111 for his first solo show at New York’s Leo Castelli Gallery: the dimensions of its fifty-nine interlocking panels were determined by the four walls of that particular space, so that the work, once hung, would surround and enclose the viewer.
31 de mar. de 2017 · James Rosenquist (November 29, 1933 – March 31, 2017) was an American artist and one of the protagonists in the pop art movement. Drawing from his background working in sign painting, Rosenquist’s pieces often explored the role of advertising and consumer culture in art and society, utilizing techniques he learned making commercial art to depict popular cultural icons and mundane everyday ...
James Rosenquist. Grand Forks, 1933 - Nueva York, 2017. Imprimir ficha. James Rosenquist destacó como representante del movimiento pop estadounidense. Su trabajo como pintor de carteles, durante su época de estudiante en el Minneapolis Institute of Arts, le aproximó a las técnicas publicitarias y marcó su estilo pictórico posterior.
Rosenquist, James. Grand Forks, North Dakota, 1933. 19. 33. Born on November 29. 48. Wins a scholarship to study for four weekends at the Minneapolis School of Art at the Minneapolis Institute of Arts. 52. Enrolls at the University of Minnesota, where he studies for two years.
With his unique brand of imagery, James Rosenquist addressed current events and voiced concern about social, political, economic, and environmental issues.
23 de feb. de 2024 · James Rosenquist (1933-2017) è stato un artista americano noto per i suoi contributi significativi al movimento Pop Art. Nato a Grand Forks, nel North Dakota, Rosenquist ha iniziato la sua carriera come pittore di cartelloni pubblicitari a New York, un’esperienza che ha avuto un impatto profondo sul suo stile artistico.
In 1964, Rosenquist began gathering photographs and information about the F-111 fighter-bomber then in development for the United States military. From these materials he devised the concept for a painting that would incorporate imagery of the warplane, creating extensive collage studies and beginning work on the massive painting in his Broome Street Studio in SoHo, lower Manhattan.
