Peter Blake: Collage

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Together with six other painters who had made similar transitions to the British countryside, Blake formed the “Brotherhood of Ruralists”—an artistic group whose stated aims were, as he wrote in 1978, “to paint about love, beauty, joy, sentiment, and magic.” Blake’s Pop art had never been as cynical as American artists like Warhol, but during this period he embraced a unabashedly joyous and idyllic worldview at odds with the then-current modes of artistic production. The work is a modern take on Thomas Gainsborough's The Blue Boy (1770), which sets a beautifully dressed aristocratic young man in the dramatic English countryside. Instead of a windswept landscape, Blake stands in front of a dingy suburban fence, demonstrating the difference between the England of the 1960s and the romanticized landscapes of Gainsborough. It also points to the difference between Britain, which was still suffering economically after the Second World War, and America, which was going through a consumer boom. Peter Blake (1932-) is an English artist and one of the founders of British Pop art and the Pop art movement. Blake is one of the leading figures of British pop art. After graduating from the RCA, he began to appropriate pop culture imagery, creating homages to figures such as Marilyn Monroe. His most famous works include the collage album cover for the Beatles’s Sgt Pepper’s Lonely Hearts Club Band, which he created with his then wife Jann Haworth . The Pop art movement began in England, during the mid-twentieth century and provided a radical shift in how art had been viewed throughout art history. Blending fine art with popular culture, pop artists incorporated images from everyday life, including advertising, images from comic books, newspapers, television, film, and consumer goods. Peter Blake and Pop Art Style

Peter Blake’s Pop art artwork Girlie Door, from 1959, is a door painted red, with images of women and movie stars, such as Marilyn Monroe and Sophia Loren. All are staring directly at the viewer. The work of collage and assemblage on hardboard recalls a bedroom of a teenaged boy. Self Portrait with Badges (1961) Self Portrait with Badges (1961) Peter Blake. Tate, London, United Kingdom.Dex, Robert (26 March 2020). "Sir Peter Blake's rainbow is a 'symbol of hope' for the capital during the coronavirus outbreak". The Evening Standard. In the early 1990s, Blake produced the artwork for the 1991 one-million-selling album by Eric Clapton, 24 Nights, after which a scrapbook of Blake’s drawings was released. Blake made another public appearance in 1992 on BBC’s Arena Masters of the Canvas where the artist painted a portrait for Kendo Nagasaki, a professional wrestler. Sir Peter Thomas Blake CBE RDI RA (born 25 June 1932) is an English pop artist. He co-created the sleeve design for the Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band. His other works include the covers for two of The Who's albums, the cover of the Band Aid single " Do They Know It's Christmas?", and the Live Aid concert poster. [1] Blake also designed the 2012 Brit Award statuette. [2]

There are plenty of other riches, though – including three charming, abstract collages from the 1950s. These were made by pasting rectangular bits of cloth, paper and silver foil onto a board, in arrangements that recall the canvases of Mark Rothko. Video still of Sir Peter Blake taken in 2016; The Academy on Vimeo, CC BY 3.0, via Wikimedia Commons The RDS was established in 2000 by Catherine Goodman, its artistic director, and the Prince of Wales. Goodman said that art education changed in the early 1990s when “the concept was becoming the dominant thing, rather than the perceptual approach to making an image”. When Peter Blake left London at the end of the 1960s, he moved to the countryside and started painting in a very different style. He took inspiration from the landscape and from an old-fashioned way of life, rather than focusing on the bright colors and consumer goods of Pop art. To create this work, Blake was extensively inspired by the Victorians, and their interest in fairies and fairy tales. Like many Victorian fairy lovers, he chose to depict a moment from Shakespeare's A Midsummer Night's Dream, painting the fairies who attend on Queen Titania and King Oberon.Blake was always at the forefront of the Pop art movement; today, he’s often referred to as the “Godfather of British Pop Art.” But just as it was becoming an international sensation at the end of the 1960s, the artist moved on. Along with Haworth and their daughter, he relocated from London to a small village near Bath. Soon, the wrestlers and strippers of his earlier works were replaced by fairies and mythology, dreams and fantasy.

Sir Peter Blake who first exhibited at Bohun Gallery in 1979 presents his new body of work, entitled 'Dazzle Alphabet', together with selected work from the earlier Alphabet Suites. Since 2012, the London show has also included Frieze Masters, selling work by Old Masters, but contemporary art remains its main selling point.

After 'Sgt. Pepper's': A gallery of Peter Blake's pop art album covers". DangerousMinds. 25 October 2014 . Retrieved 5 September 2022. At the age of 70, Blake became only the third British painter to be knighted, in a ceremony conducted by Prince Charles (because the Queen was on a state visit to Canada at the time). After the honor was bestowed, Blake said, “I’m very excited mainly because there are so few knighthoods to painters. It’s usually sculptors and architects. I’m very happy to get it on behalf of all painters. I left college in 1956 so I’ve had almost 50 years as a painter. That’s why this is so nice.” The cultural mingling in Blake’s recent works is even more eclectic. In one collage, set at the Acropolis in Athens, three coach parties are arriving at the same time. ‘One is Joseph Cornell’s group, which is rather disparate, including Tarzan. Another coach contains women artists – an outing of Frida Kahlo, Pauline Boty and lots of others. The third group is famous blondes, which developed during the making of the collages. It’s headed by Marilyn Monroe and Jayne Mansfield – but as another famous blonde came along, I’d add them to the group, so there’s Blondie and Lady Gaga too.’ This work is part of the series Joseph Cornell’s Holiday, which is dedicated to the great American exponent of collage. ‘Cornell is a great hero of mine,’ Blake says. ‘He loved the idea of travel, but never went anywhere. […] But Cornell was extremely knowledgeable about Europe. The other important aspect was that he never consummated a relationship but loved women. He fell in love constantly. So I thought: he had a pretty rotten time, let’s give him a nice holiday!’ Below the band are the words THE BEACH BOYS in graphic design in blue, orange, red, white, and brown. The Dazzle motif references Blake's recent exploration of the 'dazzle' effect camouflage which was adopted by the Navy during the First and Second World Wars, consisting of complex patterns of geometric shapes painted on the vessels to confuse the enemy as to their position, speed and course. To celebrate the Liverpool Biennale, Peter Blake was commissioned to decorate the Mersey Ferry, upon which he displayed his 'Dazzle' technique to great effect. The success of this led his series of 26 'Dazzle' silkscreen letters in 2017, which will be exhibited in full at Bohun Gallery”.

Art dealer Robert Fraser signed on to represent Peter Blake, in 1963. By 1965, Peter Blake had his first solo exhibition at the Robert Fraser Gallery. His final exhibition occurred in 1969, with the gallery’s closure. Later, in the same year, he exhibited with Leslie Waddington, who continues to represent the British Pop art artist today. Peter Blake and the Ruralists The 2021 Turner prize nominees announced on Friday are all collectives who have helped to “inspire social change through art”. Their artworks include low-tide dining on an oyster bed, a 24-hour rave and a walk through a Scottish glen.

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Yet the Swinging Sixties was just a short chapter in his long career. He was already in his thirties when The Beatles released their first LP. And unlike a lot of artists of that era, he’s still full of new ideas. An exhibition was held at Pallant House Gallery in Chichester to celebrate the artist's long associations with music called Peter Blake and Pop Music (23 June to 7 October 2012). [21] In 2014, he exhibited his illustrations inspired by Under Milk Wood at National Museum Cardiff. [22] In 2016, Blake designed the artwork for Eric Clapton's studio album I Still Do.