Johns, Jasper - Pop/Expressionismo Abstracto
Flag. 1954–55
Encaustic, oil, and collage on fabric mounted on plywood (three panels)
42 1/4 x 60 5/8" (107.3 x 154 cm)
The Museum of Modern Art, New York City
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White Flag, 1955
Encaustic, oil, newsprint, and charcoal on canvas
78 5/16 x 120 3/4in. (198.9 x 306.7cm)
The Metropolitan Museum of Art, New York City
Flag above White Collage, 1955
Encaustic and collage
57 x 49 cm
Kunstmuseum Basel, Switzerland
Target with Four Faces, 1955
Encaustic
26 x 26 in
The Museum of Modern Art, New York City
Target with Plaster Casts, 1955
Mixed media
51 x 44 in
Private collection
Target on an Orange Field, 1957
Watercolor, pencil on paper
11 x 8 1/2 in. (27.9 x 21.6 cm)
The Museum of Contemporary Art, Los Angeles
Three Flags, 1958
Encaustic
2 ft 6 7/8 x 3 ft 9 1/2 in x 5 in
Whitney Museum of American Art, New York
0 through 9. 1960
Lithograph
Composition (irreg.): 24 1/2 x 18 15/16" (62.2 x 48.1 cm); sheet: 30 x 22 5/16" (76.2 x 56.7 cm)
The Museum of Modern Art, New York City
0 through 9, 1961
Oil on canvas
support: 1372 x 1048 mm frame: 1401 x 1078 x 48 mm
Tate Gallery, London
Grey Numbers, 1961
Oil on canvas
Private collection
In Memory of My Feelings - Frank O'Hara, 1961
Oil on canvas with objects
40-1/4 x 60 x 2-7/8 in. (102.2 x 152.4 x 7.3 cm)
Museum of Contemporary Art, Chicago
Periscope (Hart Crane), 1963
Oil on canvas
67 x 48 in
Private collection
Ale Cans, 1964
Lithography
Private collection
Flags, 1968
Color lithograph
34” X 25”
Wake Forest University Fine Arts Gallery, Winston-Salem, North Carolina
Figure 4, 1968
Lithograph on paper
27 x 20 7/8 in. (68.6 x 53.0 cm)
Smithsonian American Art Museum, Washington D.C.
Figure 0, 1968/1969
lithograph in red, yellow, blue, and white on Japanese Arjomari paper
96.8 x 79.2 cm (38 1/8 x 31 1/8 in.)
The Nation Gallery of Art, Washington D.C.
Figure 7, published 1969
4-color lithograph (stone and aluminum) on Japanese Arjomari paper
96.52 x 78.74 cm (38 x 31 in.)
The National Gallery of Art, Washington D.C.
Souvenir, 1970
Color lithograph on paper
sheet: 31 x 22 3/4 in. (78.7 x 57.8 cm)
Smithsonian American Art Museum, Washington D.C.
Decoy, 1971
Lithograph with die-cut
41 9/16 x 29 5/8" (105.6 x 75.3 cm).
The Museum of Modern Art, New York City
Fragment According to What Series - Bent "Blue," 1971
Lithograph
image: 28 x 24 in. (71.12 x 60.96 cm), sheet: 28 1/2 x 25 in. (72.39 x 63.5 cm)
Oklahoma City Art Museum, Oklahoma
Flags I, 1973
screenprint on J.B. Green paper
69.9 x 90 cm (27 1/2 x 35 7/16 in.)
The Nation Gallery of Art, Washington D.C.
Sketch from Untitled II, 1974
Lithograph on paper, edition 8/50
The Museum of Contemporary Art, Los Angeles
Diana, 1974
Encaustic on canvas
155.5 x 135..5 cm
The Seibu Museum of Art, Tokyo, Japan
Corpse and Mirror II, 1976
Color lithograph on paper
30 3/4 x 39 5/8 in. (78.2 x 100.7 cm)
Smithsonian American Art Museum, Washington D.C.
Usuyuki, 1979-1981
Color screenprint on buff handmade laid paper, 50/85
27 5/8 x 45 7/16”
University of Kentucky Art Museum
Dancers on a Plane, 1980-1
Oil and acrylic on canvas with painted bronze frame
support: 2000 x 1619 mm frame: 2002 x 1620 x 58 mm
Tate Gallery, London
Usuyuki, 1981
Screenprint
29-1/2 x 47-1/4 in. (74.9 x 120.0 cm)
The Metropolitan Museum of Art, New York City
Between the clock and the Bed, 1981
Encaustic on canvas
Three panels overall. 183.4 x 302.2 cm
Each panel 183.4 x 107.1 cm.
The Museum of Modern Art, New York City
Ventriloquist, 1986
Eleven color lithograph on paper, edition 32/69
41 1/2 x 29 in. (105.4 x 73.7 cm)
The Museum of Contemporary Art, Los Angeles
The Bath, 1988
Encaustic
122.5 x 153 cm
Kunstmuseum Basel, Switzerland
Untitled, 1992
Etching and aquatint on paper
image: 905 x 1153 mm
Tate Gallery, London
Untitled, 1999
Color aquatint, spitbite aquatint, sugarlift aquatint, etching, and photogravure on wove paper
plate: 46 x 67.5 cm (18 1/8 x 26 9/16 in.)
sheet: 58.3 x 79.7 cm (22 15/16 x 31 3/8 in.)
The National Gallery of Art, Washington D.C.
Untitled, 1999
Color intaglio (hard ground etching, softground, and aquatint): final print, plus 3 working proofs, 11 trial proofs, 14 key plate trial proofs, 5 elements in color, 4 elements in black, and 4 progressive proofs
27 1/4 x 19 3/4 in. (69.2 x 50.2 cm) (each sheet)
Yale University Art Gallery, New Haven, Connecticut
Untitled, 2000
Color linoleum cut on wove paper
image: 40.4 x 27 cm (15 7/8 x 10 5/8 in.)
sheet: 57.15 x 42.55 cm (22 1/2 x 16 3/4 in.)
The National Gallery of Art, Washington D.C.
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Em "0 through 9, 1961" do acervo da Tate Gallery, em Londres, os números de 0 a 9 foram sobrepostos, criando uma imagem abstracta sistemática, na qual nenhum dos números é claramente visível. As pinceladas soltas e coloridas de azul claro, vermelho e cor de laranja transmitem uma sensação de nergia. A utilização dos números como tema dos seus quadros inspira-se na obra dos artistas pop, que recorriam à imagens da vida quotidiana e da cultura popular como base para a sua arte. No entanto, a técnica de Johns é mais expressiva e dependente do uso da tinta, revelando a influência dos expressionistas abstractos, tais como Pollock, que na altura se empenhavam em criar telas carregadas de emoção. Ao optar por temas mundanos e objectivos, como os números e as bandeiras e ao aplicar o método rápido de pinceladas amplas e gestuais, Johns tornou-se conhecido como o elo de ligação entre os dois movimentos. Interessou-se acima de tudo pela natureza da pintura, alargando os seus limites através da combinação da colagem com a escultura sobre a superfície pintada. Jasper Johns nasceu em Allendale (EUA) em 1930.
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Jasper Johns born 1930, American painter and printmaker, forerunner of Pop art, who uses commonplace emblematic images such as flags or numbers as the starting-point for works of great richness and complexity. Born in Augusta, Georgia, and grew up in South Carolina. Studied at the University of South Carolina for about 1 1/2 years when he received his first formal training in art, then moved in 1949 to New York. Two years military service, part of the time in Japan. From 1952 lived in New York, supporting himself until 1958 mainly by working in a bookstore. Friendship from the mid 1950s with Rauschenberg, the dancer Merce Cunningham and John Cage. Made his first 'Flag', 'Target' and 'Number' paintings in 1954 and 1955 his first one-man exhibition at the Leo Castelli Gallery, New York, in 1958 won him immediate recognition. Since 1960 has also made nearly 300 lithographs, etchings, screenprints, and embossed paper and lead reliefs. Director of the Foundation for Contemporary Performance Arts since 1963 and Artistic Adviser to Merce Cunningham and Dance Company. Lives in New York.
Tate Gallery Biography
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