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・ Peter Scott (skier)
・ Peter Scott (thief)
・ Peter Scott Lewis
・ Peter Sarsfield
・ Peter Sarsgaard
・ Peter Sarstedt
・ Peter Sartori
・ Peter Sasala
・ Peter Sasdy
・ Peter Satir
・ Peter Sattmann
・ Peter Sauber
・ Peter Sauder
・ Peter Sauer
・ Peter Sauerbruch
Peter Saul
・ Peter Saunders
・ Peter Saunders (impresario)
・ Peter Savaryn
・ Peter Saville
・ Peter Saville (graphic designer)
・ Peter Saville (psychologist)
・ Peter Sawyer
・ Peter Sawyer (historian)
・ Peter Sayer
・ Peter Scamurra
・ Peter Scanavino
・ Peter Scantlebury
・ Peter Scarff
・ Peter Scarlett


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Peter Saul : ウィキペディア英語版
Peter Saul

Peter Saul (born August 16, 1934) is an American painter. His work has connections with Pop Art, Surrealism, and Expressionism. His early use of pop culture cartoon references in the late 1950s and very early 1960s situates him as one of the fathers of the Pop Art movement. He realised about 800 paintings during his career.〔“Peter Saul interview with Irving Sandler and Phong Bui,” The
Brooklyn Rail, Dec. 2010, Jan. 2011, p.20〕
==Early Life and Work==
Peter Saul was born in San Francisco, California, and studied at the California School of Fine Arts from 1950 to 1952 and at Washington University in St. Louis from 1952 to 1956 before moving to Europe where he remained until 1964. Saul was inspired by 1940’s comic books such as ''Crime Does Not Pay'', ''Plastic Man'', and the painting ''Coney Island'' by Paul Cadmus that he saw reproduced in an art book his mother received from Book-of-the Month Club in 1939. After completing art school in 1956, he developed a brushy art style influenced by de Kooning. In 1958 he decided to incorporate cartoon images such as Donald Duck and Superman as subjects in his paintings after seeing an issue of ''Mad'' magazine in a Paris bookstore. Roberto Matta introduced his work to the dealer Allan Frumkin and in 1961, he had his first show at the Allan Frumkin Gallery in Chicago, followed in 1962 by simultaneous shows at Galerie Breteau in Paris and the Allan Frumkin Gallery in New York City. He was quickly classified as a Pop artist, albeit one with “too much paint”.〔Newsweek, November 9, 1964〕
Art critic John Yau wrote of Saul's work in ''The Brooklyn Rail'':

His orchestration of the intertwining, overlapping, cartoony figures could only have been done by someone who absorbed the all-over compositions of the Abstract Expressionists. He juices the painting up to a fever pitch with a jarring, manic palette of bright reds, blues, and greens. And then there are the details that one finds within the painting—the mayhem and violence, all precisely and lovingly depicted with hair-raising glee.


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