Buying Pop Art Paintings


Contrary to popular belief Pop  Art  actually started in the UK in the 1950’s and not in the USA in the 1960’s as most people assume. One phrase espoused by  art  historians which fairly describes the origins of modern pop  art  is that pop  art  was born in England and grew up in America . Now aged well over 50, the good news is that Pop  Art  is very much alive and kicking and looking very sprightly for its age. In fact, in more recent times there appears to have been something of a renaissance of young pop artists around the globe – again finding its origins in the United Kingdom and, once again, moving west to the USA .

Many small galleries, websites, eBay and even more traditional décor retailers are now featuring a range of affordable pop  art  paintings. So what’s so new about this? Pop  Art’s  been around for a long time hasn’t it? Isn’t it old school?

Some would argue that the recent and re-explosion of the retail trade in the sale of original Pop  Art  paintings is the post-modern realisation of Warhol’s vision of the role of  art  within modern society. Warhol’s work in democratising  art  production and ownership were naturally hindered by the physical limitations of the amount of  art  he could personally produce. This inspired Warhol to set up his  Art  Factory (a studio production team mainly producing screen prints of Andy’s original designs in the earlier years and a fully autonomous  art  machine in later years).

However, one might argue that Andy Warhol’s achievements in canonising pop  art , whilst of course outstanding for the work of just one man, didn’t fully realise the mandate of a pop/popular post-modern  art  form in that they were inextricably enmeshed with his personality and artist-as-celebrity status. Industrialist  art  emancipates  art  from the modernist notion of the struggling artist working magic in his lonely garret and returns instead to an earlier model of the  art  studio collective producing  art  to order.

One might therefore adopt the belief that this earlier pre-renaissance model of  art  production, rather than being outmoded, tallies more with a post-modern realisation of the role  art  occupies in society and defies the now archaic modernist notion of the artist as inspired genius. That’s why this author contends that we young new breed of Pop Artists have truly democratised  art  production and ownership – claiming it back from the aficionados and beard-stroking critics who stole  art  from the people from whom it finds its genesis.

Once was the time that every abode was adorned with original  art  from the first daubs on cave walls to the highly decorated homes of the Egyptians through to the intensely decorated artefacts of the Celts. Pop  art  in one sense has reduced  art  to the mundane (Warhol’s Campbell Soup can being an obvious example) and yet, simultaneously, elevated popular culture, media and celebrity itself to the lofty heights of  art .

The most encouraging thing about this new-breed of pop artists is the way it offers, at last, real  art  back to the people at a price every working man or woman can afford – a price dictated by the labour involved in its production only and free from the price hikes that galleries would make in order to preserve it for the very elite.

This is the reason why this author strongly believes that Pop  Art , rather than being an historical  art  movement, is in fact the true future of  art  – its  art  for the people, by the people. In fact with the ever consistent growth of the importance of celebrity and popular culture you can certainly expect to see pop  art  around for a long time yet.

Source by John Winter

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