This piece is a pop art movement due to it’s visual representation and communication, an american dream of optimism and naive that was going on at the time. In this way the piece looks like it’s a petrol station with it’s bright and bold colours. Around the time of this piece there was an anti vietnam war protest going on around the world. With the piece he wanted to blend the imagery of Hollywood with colourful renderings of commercial culture and the landscape of the southwest. This is one of his most iconic prints as he repeatedly used gasoline stations in his book Twentysix Gasoline Stations 1963, from a road trip through the American Southwestern countryside; trying to portray commercial culture. The perspective is flatterned as a composition to depict commercial advertising and leads from the far right to the top left leading the eye across to the foreground with one long leading line. He also used text within the piece to give interplay between art and text. The colour in the background is complementary blues and oranges, but also blends from orange to red as an analogous colour scheme making it look calm, warm and harmonious. He’s used the geometric shapes of the gasoline station through the windows, signs and gasoline tanks. The piece seems a smooth texture and feathery in the background.The image leaves the top right half spacious and the bottom left is filled with the gasoline station and the shapes it creates. It’s the way it presents the popular culture within the image that makes it the style of pop art.
Title:Untitled (Squares Arranged according to the Laws of Chance) (1917)
Artist: Jean (Hans) Arp
Dada was born from a group of avant-garde painters, poets and film makers who came to neutral switzerland before and during world war one. Jean made a series of collages based on chance. Meaning he would stand above a sheet of paper, dropping squares of contrasting colored paper on the surface of a larger sheet, then gluing the squares wherever they fell onto the page. The art could then provoke a deep inward feeling of reaction rather than an intellectual one- like fortune telling from I-Ching coins- which Arp was interested in. He began this technique when he became frustrated at his many attempts of trying to compose more formal geometric arrangements. These chance collages have come to represent dada’s aim to be ‘anti-art’. There aren’t any leading lines but more space within the image, around the geometric shapes. The texture looks smooth and the image looks like a flat plane. The image is build up with dark colours, including browns, blacks, greens, and yellows.
Around the time this was painted the first world war had ended and the second world war was about to begin and this movement ‘de stijl’ meaning ‘the style’ in dutch was a response to the terrors of world war 1; the movement was reacting against Art Deco. Art was viewing the world as a means of social and spiritual redemption. Usually Van Doesburg makes use of horizontal or vertical lines but in this piece he depicts diagonal lines; using Elementarism. Elementarism is described as “based on the neutralization of positive and negative directions by the diagonal and, as far as color is concerned, by the dissonant. Equilibrated relations are not an ultimate result.” His title infers the 45 degree angle the lines are at to the sides of the picture rather than parallel to them; giving a new relationship between composition and format of the canvas. He goes beyond the three primary colours this includes a triangle of grey, the primary colours and black and white- line and colour interact with each other within the movement and this gives one of the characteristics of de stijl. As de stijl was finding itself; paintings, furniture designs and buildings, how the works appearance looks is just as important as its function. The shapes of the piece are geometric facing diagonally, including diamonds and rectangles, with the texture looking smooth.
This painting done by Van Gogh of the Wheatfield depicts an implied large ascending diagonal line from left to right across the piece. For example, it is implied by the direction of the birds going right in the mid-ground, the cold coloured sky lines thickly painted going from left to right and also the hot coloured Wheatfield lines going right or diagonally right; all implying everything to be rising and moving- whether from the wind or time of day- within the image; all making a calm, warm and cold, sensitive piece. As well as it being calm the image has a sense of rush and business around it as the lines are short, curved and dotted across the piece looking broken up and sectioned as well. The different uses of thick and thin cross-hatched lines look rough and overlaid by each colour on the image to create tonal variation. The piece doesn’t have any outlines to suggest the shape of each object within the piece but Gogh has cleverly depicted a continuous flow the piece throughout by crosshatching the lines and colours together. Moreover, the way the image has been presented in broad colours reinforces this diagonal line going across the image.
Alphonse Mucha- Zodiac
On the other hand, to Van Gogh’s image, Alphonse Mucha (zodiac) presents a portrait piece where everything within the image is flowing from the middle to the outside with outlines separating each object within the image. The artist creates a calm and elegant image with the organic leaves and person flowing in thick and thin lined shapes(much like Gogh), for example the oval leaves and thin hair ends, with the calming mood imply smoothness. There are bold outlined shapes, opposite to Gogh’s style, around the image, for example, outline of the women, the outline of what looks like a frame of a scroll, rounded around the zodiac circle and women. Apart from the rounded lines around the image there’s also this continuous line flowing in the middle of the circle that loop around like a jump, bouncing pattern. The image over laps between the outline of the frame, as with the hair some flows underneath while other parts flow outside; as with the leaves, parts flowing outside and others underneath; with Gogh’s work his landscape overlaps to create tonal elements and flows from right to left and from foreground to background creating depth in the image compared to Mucha’s bold, outlined portrait. Further, there’s an element of psychological lines formed by the way the women’s looking out to the side creating the viewer to be intrigued by her glance and with the relations to this circle and leaves flowing through the image. The image looks powerful done so by the use of different lines used by the artist.