Richard William Hamilton CH (24 February 1922 - 13 September 2011) is a British painter and collage artist. His 1955 exhibition Man, Machine and Motion (Hatton Gallery, Newcastle upon Tyne) and his collection in 1956 What exactly makes today's house so different, so interesting? , produced for This Tomorrow the Independent Group exhibition in London, considered by critics and historians to be one of the earliest works of pop art. The main retrospective of his work is at Tate Modern until May 2014.
Video Richard Hamilton (artist)
Kehidupan awal
Hamilton was born in Pimlico, London on February 24, 1922. Despite having left school without formal qualifications, he managed to get a job as an apprentice working in an electrical component company, where he discovered the ability to draughtsmanship and began painting in night classes at Saint Martin School of Art and at Westminster School of Art. In 1938, he enrolled at the Royal Academy of Arts.
After spending World War II working as a technical draftsman, he reapplied at Royal Academy Schools but was issued in 1946 on the basis of "not benefiting from instruction". The loss of student status forced Hamilton to run the National Service. After two years at the Slade School of Art, University College, London, Hamilton began exhibiting his work at the Institute of Contemporary Art (ICA), where he also produced posters and leaflets. He taught at the College of Art and Design from 1952 to 1966.
Maps Richard Hamilton (artist)
1950s-1960s
Hamilton's early work was much influenced by D'Arcy Wentworth Thompson's 1917 text on Growth and Shape. In 1952, at the first Independent Group meeting, held at the ICA, Hamilton was introduced at the colposal presentation of Eduardo Paolozzi produced in the late 1940s and early 1950s which is now considered to be the first standard bearer of Pop Art. Also in 1952, he was introduced to Green Coast records by Marcel Duchamp via Roland Penrose, whom Hamilton had met at the ICA. At ICA, Hamilton is responsible for the design and installation of a number of exhibits including one on James Joyce and Penrose's Curator of the Human Head Curated and Words and Horror of the Human Head. It was also through Penrose that Hamilton met Victor Pasmore who gave him Newcastle-based Newcastle Upon Tyne posts which lasted until 1966. Among the Hamilton students trained at Newcastle in this period were Rita Donagh, Mark Lancaster, Team Leader, founder of Roxy Music, Bryan. Ferry and Ferry visual collaborator, Nicholas de Ville. Hamilton's influence can be found in the visual style and approach of Roxy Music. He described Ferry as "his greatest creation". Ferry responded to the compliment, naming it in 2010 as his most admired living person, saying "he greatly influenced the way I see art and the world".
Hamilton gave a lecture in 1959, "Glorious Technicolor, Breathtaking Cinemascope and Stereophonic Sound", a phrase taken from a Cole Porter lyric in 1957, Stocking Silk music. In the lecture, which featured pop soundtracks and early Polaroid camera demonstrations, Hamilton deconstructed cinema technology to explain how it helped create Hollywood's attraction. He developed the theme in the early 1960s with a series of paintings inspired by movie stills and publicity pictures.
The ICA post also gave Hamilton time to continue his research on Duchamp, which resulted in the 1960 publication of the Duchamp's typographical version of Green Box, which consists of Duchamp's original notes for the design and construction of his famous work The Bride Stripped Bare by his Bachelors, Even , also known as The Large Glass . The 1955 Hamilton painting exhibition at the Hanover Gallery is all in tribute to Duchamp. In the same year, Hamilton hosted the Man Machine Motion exhibition at the Hatton Gallery in Newcastle. Designed to look more like an advertisement than a conventional art show, this show shows Hamilton's contribution to this London's "This Is Tomorrow" exhibit in Whitechapel Gallery the following year. Just what makes today's house so different, so interesting? was created in 1956 for the catalog This Is Tomorrow , in which it is reproduced in black and white and is also used in posters for exhibitions. The collage depicts a muscular man who provocatively holds Tootsie Pop and a woman with large and naked breasts wearing a lampshade cap, surrounded by a 1950s prosperity symbol from a vacuum cleaner to a large can of ham. What exactly makes today's house so different, so interesting? is widely recognized as one of Pop Art's first works. Hamilton's written definition of what "pop" is the basis for the entire international movement. Hamilton's definition of Pop Art from a letter to Alison and Peter Smithson dated January 16, 1957 is: "Pop Art is: popular, temporary, discardable, cheap, mass produced, young, funny, sexy, attention-grabbing, glamorous and Big Business ", emphasizing everyday values ​​and generally. Thus he created a collage that combines advertising from newspapers and mass circulation magazines.
The success of This Is Tomorrow guarantees Hamilton to further teach his special assignment at the Royal College of Art from 1957 to 1961, where he promoted David Hockney and Peter Blake. During this period, Hamilton was also very active in the Nuclear Disarmament Campaign and produced works parodied by then Labor leader Hugh Gaitskell for refusing a unilateral nuclear disarmament policy. In the early 1960s he received a grant from the Arts Council to investigate the condition of Kurt Schwitters Merzbau in Cumbria. The research ultimately resulted in Hamilton organizing work preservation by relocating to the Hatton Gallery at Newcastle University.
In his work, Hamilton often incorporates the materials of the consumer society. What makes today's house so different, so interesting? (1956) using American magazines, brought back from the United States by John McHale and Magda Cordell. Hamilton also inserted plastic pieces directly into his collagen. In Pin-up (1961), a mixed-media work that explores naked plain female plastics used for breasts of a naked figure. $ he (1959-1961) inserted plastic holographic eyes, given to Hamilton by Herbert Ohl. The use of plastics has created significant challenges in preserving Hamilton's work. In early 1964, when Pin-up and $ he were lent to Hamilton's solo performance at Hanover Gallery in London, they were found cracked, lifting the plastic from the support surface. Hamilton experimented with materials, including plywood, acrylic glass, and plasticizers, and worked with conservators to improve his work and developed better techniques for combining and preserving plastics in artwork.
In 1962, his first wife, Terry, was killed in a car accident. Partly to recover from his loss, in 1963 Hamilton traveled for the first time to the United States to retrospect Marcel Duchamp's works at the Pasadena Art Museum, where, as well as meet other prominent pop artists, he became friends with Duchamp. It emerged from Hamilton that it retelled Duchamp's first English retrospective, and his familiarity with The Green Box enabled Hamilton to make copies of The Large Glass and other glass works too fragile to travel. The exhibit was featured in the Tate Gallery in 1966.
In 1968, Hamilton appeared in the movie Brian De Palma titled Greetings in which Hamilton featured a pop artist who showed the picture "Blow Up". The film is Robert De Niro's first film, and the first film in the United States to appeal for an X rating.
From the mid-1960s, Hamilton was represented by Robert Fraser and even produced a series of prints, London Swingeing, based on Fraser's arrest, along with Mick Jagger, for possession of medicines. This relationship with 1960s pop music continued when Hamilton was friends with Paul McCartney which resulted in him producing a cover design and poster collage for White White Album.
In 1969, Hamilton appeared in a documentary by filmmaker James Scott, where he discussed the London Swingeing series and his preoccupation with the mass media through the election of his own.
1970s-2011
During the 1970s, Richard Hamilton enjoyed international recognition with numerous major exhibitions organized by his work. Hamilton has found a new friend in painter Rita Donagh. Together they began to transform the North End, a ranch in the Oxfordshire countryside, into homes and studios. "In 1970, always fascinated by new technology, Hamilton redirected the progress in product design into art, with the support of xartcollection, Zurich, a young company that pioneered the production of multiples with the aim of bringing art to a wider audience. Hamilton is aware of a series of projects that blur the boundaries between artwork and product design including paintings that incorporate state-of-the-art radio receivers and computer casings Dataindustrier AB. During the 1980s, Hamilton re-entered the industrial design and designed two exterior computers: the OHIO computer prototype (for the Swedish company Isotron <198i) and the DIAB DS-101 (for Dataindustrier AB 1986). As part of the television project, the BBC 1987 Painting with Light Hamilton series was introduced to Quantel Paintbox and has since used this or similar device to produce and modify his work.
From the late 1970s, Hamilton's activities concentrated on investigating the process of graphic art, often in unusual and complex combinations. In 1977-8 Hamilton conducted a series of collaborations with artist Dieter Roth who also obscured the artist's definition as the sole author of their work.
In 1992, Richard Hamilton was commissioned by the BBC to recreate his famous artwork, Just What It That Makes a House Today So Different, Very Admiring? but only this time, as what he felt the average household would be like in the 1990s. Instead of a male body builder, he uses an accountant who works at the table. Instead of a female icon, she uses a world-class female body builder.
In 1981 Hamilton began working on a trilogy of painting based on the conflict in Northern Ireland after watching a television documentary about the "Blanket" protest organized by IRA prisoners at Long Kesh Prison, officially known as The Maze. Population (1981-83) shows IRA prisoner Hugh Rooney described as Jesus, with long hair and a beard. Republican prisoners refused to wear prison uniforms, claiming that they were political prisoners. The prison officials refused to let the "blanket protesters" use the toilet unless they wore prison uniforms. Republican prisoners refused, and instead applied dirt on their cell walls. Hamilton explains (in the catalog to his Tate Gallery exhibition, 1992), that he sees the image of "human blanket as a public relations tool with tremendous power." It has a moral belief about religious icons and the persuasion power of the advertising person, but that is the current reality ". Subject (1988-89) shows the Orangeman, a member of an order dedicated to preserving Unionism in Northern Ireland. Country (1993) shows a British soldier on a "foot patrol" on the street. Population is shown as part of "A Cellular Maze", a 1983 joint exhibition with Donagh.
From the late 1940s Richard Hamilton was involved with the project to produce a set of illustrations for James Joyce Ulysses . In 2002, the British Museum held an exhibition of Hamilton illustrations from Ulysses by James Joyce, entitled Imaging Ulysses . A Hamilton illustration book is published simultaneously, with a text by Stephen Coppel. In the book, Hamilton explains that the idea to illustrate this complex experimental novel happened to him when he performed National Service in 1947. His first early sketches were made at the Slade School of Art, and he continued to refine and-work drawings over the next 50 years. Hamilton felt the reworking of his illustrations in many different media had produced a visual effect similar to Joyce's verbal techniques. The Ulysses illustration is then on display at the Museum of Modern Irish Art (in Dublin) and the Boijmans van Beuningen Museum (in Rotterdam). The British Museum exhibit coincided with the 80th anniversary of the publication of Joyce's novel, and Richard Hamilton's 80th birthday.
Hamilton died on September 13, 2011, at the age of 89. The work of Le chef d'oeuvre inconnu - painting in three parts, was not completed at the time of his death, comprised of a trio of large inkjet prints made from Photoshop images to visualize the moment of crisis in Balzac's novel The Unknown Masterpiece .
Exhibition
The first exhibition of Hamilton's painting was shown at Hanover Gallery, London, in 1955. In 1993 Hamilton represented the United Kingdom at the Venice Biennale and was awarded the Golden Lion. Major retrospective exhibits have been held by Tate Gallery, London, 1970 and 1992, Solomon R. Guggenheim Museum, New York, 1973, MACBA, Barcelona, ​​Museum Ludwig, Cologne, 2003, and Neue Nationalgalerie, Berlin, 1974 Some of the group exhibits that Hamilton followed included: Documenta 4, Kassel, 1968; SÃÆ'Â £ Paulo Paulo Art Biennial, 1989; Documenta X, Kassel 1997; Gwangju Biennale, 2004; and the Shanghai Biennale, 2006. In 2010, the Serpentine Gallery presented 'Moral Matters Matters' Hamilton, an exhibition focusing on his political work and protests demonstrated earlier in 2008 at Inverleith House, the Royal Botanic Garden in Edinburgh. For the 2001/2002 season at Vienna State Opera Richard Hamilton designed a large-scale (176 square meter) drawing "Retard en Fer - Delay in Iron" as part of the "Safety Curtain" exhibition series, compiled by an ongoing museum. Just a week before his death, the artist worked with Museo Nacional Centro de Arte Reina SofÃÆ'a, Madrid, to prepare a retrospective of his main oeuvre museum that was scheduled to open for the first time in Tate Modern, London, on February 13, 2014, traveling later to Madrid in which will open on June 24, 2014.
In 2011 Dublin City Gallery The Hugh Lane exhibits a combined retrospective exhibit of both works by Hamilton and Rita Donagh called "Civil Rights etc." That same year, the Minneapolis Institute of Art showcased Hamilton's work at Richard Hamilton: Pop Art Pioneer, 1922-2011 . The National Gallery of "Richard Hamilton: The Late Works" opened in 2012. A major retrospective at Tate Modern in 2014 is "the first retrospective that covers the full scope of Hamilton's work, from the design of the early 1950s exhibits to his final painting of 2011. [ ] explores his relationship with design, painting, photography and television, as well as his engagement and collaboration with other artists ".
Collection
The Tate Gallery has a complete collection of Hamilton's works from all over his career. In 1996, Kunstmuseum Winterthur received a great gift from Hamilton's prints, making this museum the largest warehouse of artist prints in the world.
Recognition
Hamilton was awarded the William Foundation Award and Noma Copley, 1960; John Moores Painting Prize, 1969; Talens Prize International, 1970; Leone d'Oro for his exhibition at the English Pavilion at Venice Biennale, 1993; Arnold Bode Prize in Documenta X, Kassel, 1997; and Max Beckmann Prize for Frankfurt City Painting, 2006. He was named a Member of the Order of Friends (CH) in 2000. He was given a special award by The Bogside Artists of Derry at the Royal College of Art in 2010.
Art market
Hamilton has been represented by The Robert Fraser Gallery. The Alan Cristea Gallery in London is Hamilton's distributor of prints. The auction record was Ã, £ 440,000, set at Sotheby's, London, in February 2006, for Fashion Plate, Cosmetic X Study (1969) For retrospective 2014 at Museo Nacional Centro de Arte Reina SofÃÆ'a, the government insured 246 works by Hamilton for 115.6 million euros ($ 157 million) from damages or damages, according to an order published as a law by the Ministry of Education, Culture and Sport.
References
Bibliography
- Lucy R. Lippard, Pop Art , London, Thames and Hudson, 1985
- Richard Hamilton, Words Collected 1953-1982 , New York, Thames and Hudson, 1983
- David Robbins (ed.), Independent Group: Postwar England and Aesthetics of Plenty , MIT Press, 1990
- Richard Hamilton (exhibit catalog), London, Tate Gallery, 1992
- Etienne Lullin, Richard Hamilton, Stephen Coppel (eds.), Richard Hamilton: Prints and Multiples 1939-2002 , Richter, 2004
- John Richardson, Richard Cork, Richard Hamilton, Hamilton , Dickinson, 2006
- Hal Foster and Alex Bacon (eds.), Richard Hamilton , London, The MIT Press, 2010
External links
- The Guardian: Obituary, Richard Hamilton, original pop artist dies at 89
- The recording of Richard Hamilton who was interviewed at the Polaroid exhibition 2001 in Birmingham, England
- Richard Hamilton: Pop Daddy, from an interview by Hans-Ulrich Obrist, Tate Magazine
- Hal Foster, At First Pop Age, New Left Review
- Richard Hamilton, Catalog
- exhibit with Richard Hamilton
- Hamilton New York 2006
- Richard Hamilton works in the Tate Collection
- Richard Hamilton's Illustration of Ulysses
- Excerpt from a 2003 conversation with Richard Hamilton (podcast)
- Richard Hamilton at Kenneth Tyler Collection Australia's National Gallery
Source of the article : Wikipedia
0 Comments