Pop Art

Romero Britto (Recife, October 6, 1963) he/she is a painter and Brazilian sculptor.
It is known as Brazilian Pop Artist, being rooted in Miami. Its works dropped in the celebrities' taste for its happiness, coloring and imagination, having been raised for the fame when accomplishing the illustration of an advertising campaign for the vodka Absolut.
Pop Art, movement that used illustrations and popular icons as theme of its paintings In the derradeiro moment of the modernism, everything is ready image to be consumed. This way, Pop Art tries to decrease the lacuna between the low calls and high culture using elements of the call mass culture.
It is not a critic to the consumerism, nor to the mass culture in itself, but yes a comment that tries to rescue the function of the art as participant of the human being day-to-day, giving meaning to the contemporary human existence, to the life of most. An art gender in that each object combined the qualities of the “done in series” and of the “only.” “I use given to the that is despised”, Roy Liechtenstein, one of the exponents of the movement said. The mass culture and the appearance of the Pop Decoration and Horkheimer, in the forties, they coined the term “cultural industry” to express what believed to be the consummation of the mercantile uniformização of the world, a typical phenomenon of the century XX and of the mass society that won body and statute of global reality in him. In this context, it was spoken plenty about the opposition ‘high culture x low culture ' and that the own culture nomination would already presuppose merely a level lowering, a calculação administrative and redutora of the essential of the creations of the spirit.
However, only in the decade of fifty that a handful of intellectuals tried to do very clear distinctions among the high culture, the medium culture and the mass culture, but that dropped quickly for earth, because he/she didn't contemplate, actually, the realities, not even of the modern literature.
In the middle of the decade of 50 the artists, for its time, defend a popular art (pop), that communicates directly with the public by means of signs and removed symbols of the imaginary that surrounds the culture of masses and the daily life. The defense of the popular translates an adverse artistic attitude to the hermetism of the modern art. In that sense, the pop art is placed in the artistic scene as one of the movements that refuses the separation arte/vida. And he does for the incorporation of the histories in pictures, of the publicity, of the images televisivas and of the movies. Thus, Pop Art appears, in England, through a group of entitled artists The Independent Group. Is the first Pop considered work exactly IT what it turns the lares today so different, so attractive?, of Richard Hamilton. The artists and critics members of Independent Group throw in first hand the bases in the new way of artistic expression, that benefits of the technological changes and of the wide range of possibilities placed by the modern visualidade, that is in the world - streets and houses - and not just in museums and galleries. Eduardo Luigi Paolozzi, Richard Smith and Peter Blake are some of the main names of the British group.
It is possible to observe in the British Pop works a certain dazzle for the american way of life through the mitificação of the culture estadunidense. It is necessary to take in consideration that England went by a postwar period, if reerguendo and shimmering the North American economic prosperity. This way, all the works of the British pop artists accepted the industrial culture and they assimilated aspects of her in its art in an eclectic and universal way.
Unlike what it happened in Grã-Britain, in United States the artists work separately up to 1963, when two exhibitions (Art 1963: new vocabulary, Arts Council, Philadelphia and The new realists, Sidney Janis Gallery, New York) they gather works that benefit of the advertising material and of the media. It is on that moment that Andy Warhol's names, Roy Lichtenstein, Claes Oldenburg, James Rosenquist and Tom Wesselmann appear as the main representatives of the pop art in North American soil. Without common style, programs or manifestos, the those artists' works are tuned by the thematic ones approached, for the simplified drawing and for the saturated colors. The new attention granted to the common objects and the daily life finds its precursors in the antiarte of the dadaístas.
The North American artists still take as reference a certain local figurative tradition - Robert Rauschenberg's three-dimensional collages (1925) and Jasper Johns's plane and emblematic images (1930) - that opens the art for the use of images and objects registered in the daily. In the treatment of that specific plastic repertoire it is not observed the subjective load and the lyrical-dramatic gesture, characteristic of the abstract expressionism - that, in fact, the pop art comments in works of form paródica as it Paints with a brush (1965) of Roy Lichtenstein. Inside the North American group, the name of T. Wesselmann links to the nature-dead composed with commercial products, the one of Lichtenstein to the pictures (Whaam!, 1963) and the one of C. Oldenburg, more directly to the sculptures (Double Hamburger, 1962).
An art that doesn't criticize unlike the one that a majority can believe to the first view, Pop Art didn't want to criticize the consumption means, of communication, the capitalism and the mass it measured. The Pop art just intended to represent the social of the time and to celebrate the nuances of the language of the urban culture. The Pop artists reflect a complete lack of political intention. They just wanted to portray the middle that surrounded them; what interests they are the images, the atmosphere, the life that the industrial technology created in the great urban centers. Its intentions are much more positive or ironic, that critics.
And them not only they didn't criticize the imaginary of the mass means, as well as they didn't homage the fantastic aspects of the modern civilization with its colored robots. They just mixed several pieces of the commercial language in a subjective artistic language, transforming it in its personal visions, even so without appealing to an expressive abordagem to pack its messages.
Many of the Pop artists excellent painters had already revealed, and in its works of Pop Art they showed a different style. They were not sacrificing its artistic qualities for the commercial power of the imaginary, but also not for a severe critic of the consumption society; they were social comments, done with different terms. Did they just want to know and to show " the one what it is that does that our lares is today so different, so charming "?.

Commercial art X Learned Art THE main discussion in the artistic ways always went to what extent to pop art art can be considered. This subject is lifted by the learned members of the art of the time, that so much tried to resist to the fact that a commercial art cannot, and he/she doesn't stop being, an art.
Many defended that the reason for an advertising art not to be taken as art is because of the ends so that this art is made, it is an art that is already born in the conception that needs to sell and to be sold. But to what extent are these learned artists distant of they conceive its works for they be sold? Starting from the moment that the mecenato is extinct, the artists depend on the merchants for they obtain its life gains. The difference is that nor everybody can wait for the luck of they have its works you accept in museums of fames and they turn its very profitable works.
The option for an art as Pop Art becomes obvious to verify that to the most representative artists of this movement had to travel several roads of the popular culture, since they didn't get to obtain immediate success in the artistic scene. In spite of they have a learned formation of the art just as the artists of the abstract expressionism (I move of the " high " art that prevailed at that time), they could not limit its studies to the arts. They were forced they look for it alternative forms of artistic works, as the painting of posters, collages for advertising announcements, drawings of announcements of products, etc. And it was through this contact with the commercial culture that they started to notice a new art conception.
The epic poet became substituted by the daily, what was produced in mass it received the same importance than it was only and irreproduzível. What was considered vulgar and banal he/she passed becoming refined. If the movies, the design and the coca-glue were part of the those artists' day-to-day, why not to see these elements under an artistic optics? Thus, the distinction between " high " art and " vulgar " art went disappearing.
The artists of the Pop didn't fight against the critics that said that its arts were almost indistinguishable of a publicity art, on the contrary, they affirmed this position and they placed in subject the reason of a commercial art not to also be Art. A process of creative and artistic creation existed inside of that advertising art of a certain form equal to the that happened in a " art for the art ".
The pop art approached the Art of the masses as no other left art had gotten to do, therefore desmistificou that before was seen " for few ", if using of own objects of that mass. Not only the popular culture becomes an art theme, but the art also becomes integral of the popular culture. It went through to Pop that the films and the pictures started to go for the museum and the international exhibitions