424:, with the picture being described by Rosenquist as his first pop piece. Done in oil on two separate pieces of canvas, the work exemplifies the beginnings of the pop art movement in the way that Rosenquist takes imagery from mass media, using a picture of a tomato and a clipping from an ad for hand cream. The two images are divided into separate zones, which serve to focus on visual parallels such as the arch of the tomato stem and the woman's eyelashes, as well as illustrating Rosenquist's signature, often surreal, fragmented composition.
447:, Rosenquist seeks to make a statement on the new role that advertising and mass media had during the Kennedy's campaign. "I was very interested at that time in people who advertised themselves," said Rosenquist. "Why did they put up an advertisement of themselves? So that was his face. And his promise was half a Chevrolet and a piece of stale cake." In the painting, Rosenquist contrasts the portrait of Kennedy with the cake and the Chevrolet to show how each element is marketed to American consumers.
245:. Talking about his experience at the Art Students League, Rosenquist said "I studied only with the abstract artists. They had commercial artists there teaching commercial work, I didn't bother with that. I was only interested in – see, here's how it started. I was interested in learning how to paint the Sistine Chapel. It sounds ambitious, but I wanted to go to mural school". While studying in New York, Rosenquist took up a job as a chauffeur, before deciding to join the
345:, a collaborative art initiative. In the years following Rosenquist remained a key contributor to the studio, cooperating with students and other artists and producing numerous works of his own, ultimately creating his Aripeka studio in 1976. Rosenquist would continue to travel to Florida throughout his career with the artist developing several commissioned works for the community including two murals for Florida's state capitol building and a sculpture for
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near the cockpit mirroring bombs dropping from the plane, and the hood of the hairdryer echoing the look of a missile. Rosenquist uses the painting to question the role of marketing and coverage of the war describing the plane as "flying through the flak of consumer society to question the collusion between the
Vietnam death machine, consumerism, the media, and advertising,".
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movement. Drawing from his background working in sign painting, Rosenquist's pieces often explored the role of advertising and consumer culture in art and society, utilizing techniques he learned making commercial art to depict popular cultural icons and mundane everyday objects. While his works have
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contrasts pictures from the war with commercial imagery from advertisements, showing tires, a cake, lightbulbs, a girl in a salon hairdryer, bubbles, and spaghetti. Rosenquist juxtaposes the imagery from the ads against the plane as a way to imply graphic scenes from the war, with broken light bulbs
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from a campaign poster onto a towering display. The painting also includes a superimposed picture of hand holding cake in greyscale, as well as the back of a
Chevrolet. Rosenquist uses icons in pop culture to examine fame and the relationship between advertising and the consumer, exploring the kind
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techniques to fine art thus: "as importing the method into art a bit of a cheap trick? So were Warhol's photo silk-screening and
Lichtenstein's lining of panels from comic strips. The goal in all cases was to fuse painting aesthetics with the semiotics of media-drenched contemporary reality. The
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and painting displays and windows across Fifth Avenue. By 1960, Rosenquist abandoned painting signs after a friend died by falling from scaffolding on the job. Instead of working on commercial pieces, he chose to focus on personal projects in his own studio, developing his own distinct style of
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Rosenquist married twice and had two children. With his first wife, Mary Lou Adams, whom he married on June 5, 1960, he had one child: John. His first marriage ended in divorce. In 1976, a year after his divorce, he moved to
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197:, Rosenquist's pieces were unique in the way that they often employed elements of surrealism using fragments of advertisements and cultural imagery to emphasize the overwhelming nature of ads. He was a 2001 inductee into the
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457:, one of the largest and most ambitious works in his collection. Spanning over 83 feet and 23 canvases, the painting's scale evokes Rosenquist's work on billboards, illustrating a life-sized depiction of the
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as a turning point in the development of his own personal aesthetic, with the piece being the first to employ monumental scale, a recurring aspect of
Rosenquist's art that is exemplified in his many murals.
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signs, going to gas stations from North Dakota to
Wisconsin. After leaving school, Rosenquist took a series of odd jobs and then turned to sign painting. From 1957 to 1960, Rosenquist earned his living as a
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But
Rosenquist said the following about his involvement in the Pop Art movement: "They called me a Pop artist because I used recognizable imagery. The critics like to group people together. I didn't meet
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painter. Rosenquist applied sign-painting techniques to the large-scale paintings he began creating in 1960. Like other pop artists, Rosenquist adapted the visual language of advertising and
568:, where Rosenquist had lived for 30 years, burning his house, studios, and warehouse. All of his paintings stored on his property were destroyed, including art for an upcoming show.
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also served as a stepping stone in
Rosenquist's body of work in that it served as a departure from his previous works, which saw him move away from previous experiments in
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in 1988. In 2002, the
Fundación Cristóbal Gabarrón conferred upon him its annual international award for art, in recognition of his contributions to universal culture.
221:. His mother, who was also a painter, encouraged her son to have an artistic interest. In junior high school, Rosenquist won a short-term scholarship to study at the
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naked efficiency of anti-personal artmaking defines classic Pop. It's as if someone were inviting you to inspect the fist with which he simultaneously punches you."
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on March 31, 2017, after a long illness; he was 83 years old. His survivors include his wife, Thompson; one daughter, Lily; one son, John; and a grandson, Oscar.
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Rosenquist received numerous honors, including selection as "Art In
America Young Talent USA" in 1963, appointment to a six-year term on the Board of the
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in
Manhattan, occupying the entirety of each wall without any kind of visual relief, to cast an imposing, continuous view of the war. Painted during the
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Rosenquist's career in commercial art began when he was 18, after his mother encouraged him to pursue a summer job painting. He started by painting
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To be creative is to be accepting, but it's also to be harsh on one's self. You just don't paint colors for the silliness of it all.
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magazine stated that "his powerful graphic style and painted montages helped define the 1960s Pop Art movement."
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to the context of fine art. "I painted billboards above every candy store in Brooklyn. "I got so I could paint a
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painting that retained the kind of imagery, bold hues, and scale that he utilized while he painted billboards.
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823:"James Rosenquist, The Bird of Paradise Approaches the Hot Water Planet, 1988, Oil on canvas, 105 x 85 inches"
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organized a full-career retrospective in 2003, which travelled internationally, and was organized by curators
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561:. His second wife was Mimi Thompson, whom he married on April 18, 1987, by whom he had one child: Lily.
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After his acclaim, Rosenquist produced large-scale commissions. This includes the three-painting suite
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aircraft. The painting initially was intended to cover all four walls of the main room within the
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184:(November 29, 1933 – March 31, 2017) was an American artist and one of the proponents of the
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often been compared to those from other key figures of the pop art movement, such as
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is among one his most well-known pieces, with the artist translating a portrait of
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James Rosenquist in the National Gallery of Australia's Kenneth Tyler Collection
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957:"James Rosenquist - Division of Cultural Affairs - Florida Department of State"
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Beginning with his first early-career retrospectives in 1972 organized by the
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James Rosenquist Biography and Interview on American Academy of Achievement
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descent who moved from town to town to look for work, finally settling in
845:"James Rosenquist, pop artist who painted the famous F-111, dies aged 83"
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In 1971 Rosenquist came to South Florida after receiving an offer from
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interview with James Rosenquist by Mary Anne Staniszewski (Fall, 1987)
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935:"James Rosenquist, who elevated the Tampa Bay art world, dead at 83"
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whiskey bottle in my sleep", he wrote in his 2009 autobiography,
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of fame and iconography that comes with American politics. With
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1121:"Golden Plate Awardees of the American Academy of Achievement"
1053:. Tate Research Publication: London. Retrieved April 5, 2020.
1179:. Jewish Museum (New York) website. Retrieved April 7, 2020.
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Rosenquist's paintings have been on display in the lobby of
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Photographs of James Rosenquist by photographer Russ Blaise
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from 1952 to 1954. In 1955, at the age of 21, he moved to
1070:. Museum of Modern Art, New York. Retrieved April 5, 2020.
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Litt, Steven. "Salle Mural Quietly Fills Key Tower Void",
1211:(illustrated ed.). C. Scribner's Sons. p. 280.
798:"James Rosenquist Biography, Art, and Analysis of Works"
632:"James Rosenquist Biography, Art, and Analysis of Works"
1194:. Vol. 31. H. W. Wilson Company. 1970. p. 40.
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in 1965, with which he achieved international acclaim.
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International Brotherhood of Painters and Allied Trades
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College of Fine Arts, to participate in the school's
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Rosenquist had his first two solo exhibitions at the
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Members of the American Academy of Arts and Letters
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The Permanent Collections of the Guggenheim Museums
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1336:with the latest works at Jablonka Galerie, Berlin
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1353:at the Guggenheim Museum, New York City, 2003–04
1208:The Scribner Encyclopedia of American Lives: M–Z
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700:"James Rosenquist, Pop Art Pioneer, Dies at 83"
894:. Museo Guggenheim Bilbao. 2007. p. 162.
598:"Biography - Artist - James Rosenquist Studio"
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209:Rosenquist was born on November 29, 1933, in
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310:in 1962 and 1963. He exhibited his painting
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285:Painting Below Zero: Notes on a Life in Art
253:, ultimately becoming the lead painter for
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564:On April 25, 2009, a fire swept through
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1177:Remembering Pop artist James Rosenquist
1089:The Metropolitan Museum of Art Bulletin
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540:in 1965, was mentioned in a chapter of
330:that well. We all emerged separately."
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1380:James Rosenquist at the Jewish Museum.
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453:: In 1965, James Rosenquist completed
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347:Johns Hopkins All Children's Hospital
298:asked of Rosenquist's application of
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1082:"An Interview with James Rosenquist"
999:Wiersema, Robert J. (July 8, 2016).
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1317:Pop Art Masters – James Rosenquist
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915:"Art Space Talk: James Rosenquist"
843:Pengelly, Martin (April 2, 2017).
237:, studying under painters such as
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1351:James Rosenquist: A Retrospective
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1205:O'Neill, William L., ed. (2003).
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743:"In the Studio: James Rosenquist"
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1243:Itzkoff, Dave (April 28, 2009).
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349:, in addition to serving on the
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1322:In the Studio: James Rosenquist
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870:"Milestones James Rosenquist,"
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233:on scholarship to study at the
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511:Whitney Museum of American Art
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1049:. In Alex J. Taylor's (Ed.),
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745:. artinfo.com. Archived from
602:www.jamesrosenquiststudio.com
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339:University of South Florida's
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1103:"James Rosenquist Interview"
665:Florida Artists Hall of Fame
523:Solomon R. Guggenheim Museum
496:National Council of the Arts
430:: Released the same year as
199:Florida Artists Hall of Fame
16:American painter (1933–2017)
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827:www.acquavellagalleries.com
698:Johnson, Ken (April 2017).
498:in 1978, and receiving the
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1455:Painters from North Dakota
1283:Rosenquist's official site
1036:. Retrieved April 7, 2020.
874:April 17, 2017, p. 15
37:Photo by: Russ Blaise 1988
1445:Artists from North Dakota
1327:Interview with Myartspace
1101:Staniszewski, Mary Anne.
770:"James Rosenquist Studio"
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726:: CS1 maint: location (
661:August 13, 2014, at the
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829:. Acquavella Galleries.
542:Polaroids from the Dead
515:Wallraf-Richartz Museum
227:University of Minnesota
182:James Albert Rosenquist
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351:Tampa Museum of Art's
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316:Leo Castelli Gallery
294:In 2003, art critic
147: 1960;
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380:Deutsche Guggenheim
353:Board of Trustees.
235:Art Students League
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1360:The New York Times
1249:The New York Times
1143:"James Rosenquist"
1064:James Rosenquist.
1026:James Rosenquist.
1024:(March 15, 2019).
705:The New York Times
500:Golden Plate Award
489:– James Rosenquist
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386:in Paris, France.
384:Palais de Chaillot
1343:Discover Graphics
1191:Current Biography
1175:(April 3, 2017).
1161:New York Magazine
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538:The Jewish Museum
376:in the Econo-mist
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