Evaluate the Use of Different Material and Techniques in the Development of an Artists

Topics: Pop art, Roy Lichtenstein, Art Pages: 6 (1892 words) Published: August 15, 2013
Evaluate the use of different material and techniques in the development of an artists’ body of work INTRODUCTION
Robert Klippel was an Australian constructivist sculptor who was “inspired by the intricacies and the profusion of our natural and man-made environment and by his quest for a spiritually relevant form...” (Deborah Edwards). Klippel was mostly known for his style of combining together an extraordinary diversity of found objects and junk materials. Most of his works were usually untitled, given only a number of sequences. Roy Lichtenstein was an American pop artist during the 1900s. Lichtenstein became a leading figure of the new Pop Art Movement during the 1960s, alongside Andy Warhol, Jasper Johns, and others. Inspired by advertisements and comic strips, Lichtenstein’s use of bright colours and techniques borrowed from commercial sources was common within his works, which parodied American popular culture and the art world itself in a highly sophisticated way. Although Lichtenstein was often accused of emulating his pictures from cartoons, his method involved some considerable alteration of the source images. ROBERT KLIPPEL

Klippel was born on the 19th of June 1920 in Sydney to a non artistic middle class family. After a ferry ride on Sydney Harbour at a young age, Klippel began taking interest and developed a passion in model making. He later joined the Royal Australian Navy during WW2 and was employed to make models of aircrafts and ships for recognition training in which his interest in sculpture began. While working at the centre he was able to attend evening classes at East Sydney Technical College. This was an important period during Klippel’s life in his artistic sculpting career as he began to gain knowledge of volume, mass, and structural detail. After the war, Klippel went to study abroad in Slade College, London – a 6 month experience which did not satisfy his need for freedom of expression. During his time in London, he began a series of drawings of organic and mechanical objects, with shapes and forms taking inspiration from artists such as Henry Moore and Pablo Picasso. He spent a year in Paris where he attended lectures by Jiddu Krishnamurti. This strengthened a lifelong interest in Eastern religion and philosophy, Buddhism, Hinduism, and Zen. After 18 months in Paris, Klippel returned to Australia in 1950. In 1957 he sailed to the United States, living in New York in 1957. He then returned to Sydney, where he remained until his death on his 81st birthday, 19 June 2001. FIRST ARTWORK

An important aspect of Klippel’s body of work are his drawings and collages. “Klippel’s drawings are entirely experimental in their content and form. It is little known that his sketchbooks included design for furniture and studies of marine life forms – all of which feed into his work as a sculptor” (Christopher Chapman, former curator). Klippel produced a great number of drawings and watercolours, 5000 drawings: exploration of 2D shaps, investigations of sculptural ideas, and examinations of a new attitude toward sculpture. LONDON/PARIS

Surrealism was Klippel’s first major art stylistic art movement. Surrealism was a cultural movement that began in the early 1920s that feature the element of surprise, unexpected juxtapositions, dreams and the memory. During his time in London, he met the surrealist painter James Gleeson, who was a very important individual that introduced Klippel to surrealism as well as collaborating on several works, including his first significant work “Madame Sophie Sesostoris” (1947-41) which combines Klippel’s sculpture with Gleeson’s painting. SECOND ARTWORK

“Madame Sophie Sesostoris”, a Pre-Raphaelite satire created in 1947-1948, was carved from wood and assembled by Klippel and painted by James Gleeson. Below the surface of her form we are shown the dazzling whirr of the organic machine. Both artists wrestled with concepts of the internal and the external, the mechanical and the...
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