Andy Warhol and Robert Indiana are considered to be two of the most of import creative persons of the Pop Art period. Though they belonged to the same period, their plants were rather different in manner. Yet, they both used some of the basics that defined the civilization of the Pop Art epoch. The plants which marked a bend in each of their callings were Warhol ‘s Elvis I and II, and Indiana ‘s The Demuth American Dream No. 5. Andy Warhol identified America ‘s vacant icons with his picture, which depicted the ill-famed Elvis Presley, drawing a six gun. On the other manus, Indiana ‘s, The Demuth American Dream No. 5 consists of five black panels which form a 12 by 12 pes cross, which bear a circle fronted by a perennial five. Furthermore, while Warhol adds a new dimension to Pop Art, Indiana acknowledges a affinity with earlier precisionist painters, such as Charles Demuth, whom he pays court to in his work. Both creative persons invest platitude objects and familiar images with new significance in the composing of their masterworks. Andy Warhol and Robert Indiana have been credited with ridiculing and observing American middle – category values. By wipe outing the differentiation between popular and high civilization their plants mirrored American consumer society. Depersonalization, humdrum and repeat became the trademarks of their multi- faceted images, through the amusements with mass production and commercialisation.
Upon acute observation of Warhol ‘s work, one discovers facets of the picture with a deep significance and symbolizes Elvis ‘ life. Meaning in his plant is derived from the “ errors ” that he preferred to hold in his pictures since he believed that nil was perfect. Silk testing technique creates a gradual attenuation of Elvis from left to compensate which serves as an allusion to his diminishing popularity and decease, whereas the two backgrounds symbolize life and decease. Life has been represented by the vivacious canvas on the left, similar to the life of Elvis as he lavished himself with his celebrity and wealth. Conversely, the canvas on the right has been spray painted to achieve a monochromatic coloring material to typify decease. Furthermore, the repeat of the four magnifications of Elvis mimicked the consequence of media impregnation. The usage of silk screen to make repeats has itself become portion of the significance of the image because it had been created by the usage of mass produced stuffs. The 2nd facet is the manner the background of the picture looks as if it is ne’er stoping, giving it a sense and feel of continuum and infiniteness. Last, the background looks as if it is uninterrupted due to the deficiency of a actual background. Further, continuum is achieved through the deficiency of edge- tenseness. The top border of the canvas cuts the caput and the underside cuts the pess of this exaggerated famous person. This cutting off of the figure which looks as if it has been cut and pasted onto the canvas, gives the painting a collage- similar visual aspect. By cutting and gluing the image onto the canvas, one can see that Warhol looked for the fasted and the most efficient manner to make a sequence of Elvis.
Similar to Warhol ‘s work, when looking at Indiana ‘s The Demuth American Dream No. 5 the layout is the most important trademark. The usage of Demuth ‘s well known I Saw the Figure 5 in Gold in his ain context is the most of import facet of the picture. By utilizing an already established work – similar to how Warhol used an established famous person – repetitively, he either attempted to run out its popularity or tried to reinstate a disregarded work. By utilizing a preexisting work, Indiana attempts the “ transcript and pasting ” method of Warhol to expeditiously make five indistinguishable plants. By making indistinguishable canvases, Indiana saved clip from holding to give the work an individualism. As suggested by the rubric, the figure five dramas an of import function in the work and is portrayed through serialisation and the usage of five canvases. Furthermore, the picture illustrates the multidimensional belongingss of figure in an aesthetic context. With its ocular reverberations of the figure five- a series of “ fives ” invariable in design, yet decreasing in size as they recede inward, and enlarging outward about past the image plane- the picture seems to perforate mathematical infinite. Indiana ‘s figure five strains and pulls, withdrawing and projecting itself once more onto the canvas, its original motion in clip transformed into ocular tensenesss, caught within the warring force per unit area lines of darkness and lamplight, a aureate object held suspended on the ruddy fires of sound. The ocular power of Demuth ‘s original image and Indiana ‘s heterotaxy of it into what might be called its “ native ” ocular medium is so so strong that it still has the force to animate creative persons of an full new coevals. Furthermore, there are besides spiritual symbols that go manus in manus with the importance of the figure five. Hoosier state was closely affiliated with faith, and he tried to integrate this facet into his plants. The five panels signifier into the form of a Grecian cross. The four panels which have the words “ err ” , “ dice ” , “ eat ” , and “ clinch, ” are placed environing the nucleus, which is the 5th panel. The cross symbolizes the four elements of the universe – fire, H2O, Earth, and air current. These four elements can take the signifier of the four outer panels of Indiana ‘s layout. Further, the four words he uses on each panel – err, dice, eat and embrace – semen to do up one signifier – the signifier of the American Dream. The usage of words and letters in his picture had been inspired by stencils, because he was amused with how it makes the image appear as if it had been printed. Therefore, through the enthusiasm created by the effects of the stencil which was used as an efficient agencies of production, Indiana expeditiously creates a sequenced chef-d’oeuvre.
In Elvis I and II the lone country where Warhol makes usage of aesthetic elements is in the great Pop icon, Elvis Presley. The famous person is used by Warhol as a typical characteristic in the form of a celebrated adult male that is repeated four times horizontally across his work. His face and apparels have been shaded, though non purposefully. Rather he made usage of the efficient mechanics and silk screen, which randomly attention deficit disorder light and dark facets to the form and the overall composing of the figures. Through the use of silk screen, Andy Warhol removed all hints of the creative persons “ manus ” in the production of his pictures, which was a pattern associated with the Abstract Expressionists, who were the predecessors of Pop Art. The riddance of manus reduces the personal touch as it can be sensed from the commercial expression and atmosphere of the picture. To assistance in retreating the creative persons manus, Warhol had an array of helpers who produced his silk screen multiples, following his waies to do different versions and fluctuations. This exercising which had its roots in the Dada motion brought new dimensions to Pop art, but with a different twist- this clip the creative person himself used technologically adopted techniques like silk showing. Each of the four Elvis figures in his Acid I and II look different, because of the manner the squeegee was used in the silk showing technique. During the procedure, the squeegee was placed at a different angle, way, and even variant force to make a different tone or chromaticity of shadowing. This procedure creates variant textures across the canvas through the force per unit area that is caused by the squeegee ; or as Warhol wanted to name them, “ errors, ” that he liked to hold in the picture to make and imbalanced aesthetic characteristic. The background of the image, which is bright blue on the left manus canvas, has no visible radiation created by shadowing ; the background does non picture a typical landscape nor does it show any sort of position to make deepness. The usage of a bright background gives it a sense of continuum and eternity. The homogeneousness of the two backgrounds in the work, in footings of coloring material and composing, brings a great trade of attending to the focal point of the picture, viz. the Elvis figures ; this addresses Warhol ‘s political orientation about a good picture which is “ one that is in focal point and of a celebrated individual. ” Furthermore, the bright use of coloring material adds onto the unrealistic and depersonalized image. The background of the canvas on the right is silver, which has been brought to life by the spray picture technique ; he has created an about all over matte and semi-glossy coating in footings of the texture of the background, through the silk showing technique. Further, this finish gives the work a level, yet unsmooth, and semi – brooding texture. The coloring material used was inspired and imitated from the layout and background of the movies that he was besides involved with. Frankincense, through the amusements with mass production and silk showing, Andy Warhol gives new significances to the aesthetic elements – coloring material, texture and visible radiation – which enable Warhol to accomplish his end of humdrum repeat, in his Acid I and II.
Indiana applies and integrates aesthetic elements such as coloring material, texture, and composing to about all parts of the work. In contrast to Warhol ‘s integrating of coloring material, Indiana takes a more stiff and defined attack to the coloring of his work. The colors that Robert Indiana utilizations are bold and brassy – similar looking to those of Warhol, but different in their nature. Whereas Indiana ‘s composing and usage of coloring material is good defined and bold, Warhol ‘s colors merge into the shading created by the silk screen. Indiana uses different tones of colorss to make assorted sorts of infinite for different intents, although this does non impact the matte and two dimensional aesthetic facets of the composing he presents in the picture. He allocates the Centre and focal point of the five canvases to the figures which use bright colorss to catch the attending of the witness ; these infinites can be interpreted as positive infinites. In contrast to this impression, he budgets the remainder of the infinite in the picture to make an illusional and bogus position through usage of different chromaticities of Grey, which overall can be thought of as negative infinites. The defined lines and bold colorss have been achieved by the stenciling technique. Furthermore, He uses a high keyed yellow to coerce the oculus to switch from positive to negative infinite, farther stressing the centrality of the overall composing. Indiana employs legion symmetrical and insistent forms, like the reoccurring motive of the figure five, circles, Pentagons, trigons and stars merely to call a few, in order to convey life to the aesthetical qualities of the work. These everyday composings presented across the painting tend to either conveying attending to or run out the celebrity of the Demuth ‘s I Saw the Figure 5 in Gold. To compare both plants, they portion similar attitudes in ignoring the deepness of the image to help in its depersonalisation.
Andy Warhol and Robert Indiana are two icons of the Pop Art epoch who have left a grade in the development of art ; their effects of the constructs of art and famous persons continue to be felt to this twenty-four hours. Their plants were non merely shaped by, but besides reshaped, popular civilization by wipe outing the differentiations between all right art and popular civilization. Both the creative persons have recognized the elements of an urban mass society which was to a great extent influenced by symbols, images, the mass media and mass production in their plants. Therefore, throughout both plants, the creative persons smartly demonstrate repeat through utilizing mechanical agencies of production.