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Andy Warhol got here to public consciousness as one of many top lighting fixtures of the Pop artwork circulate of the 1960's. because then his paintings and legacy have polarised artwork critics and the general public alike. This skinny, faded, asexual guy in a silver wig has been defined as either a genius and a charlatan. His artwork, and perhaps extra importantly his method of artwork, have taken him out of the galleries and museums into the general public enviornment. Love or loath his paintings so much agree that he broke down the divide among excessive artwork and mass culture.
Crucial to Warhol is that this paradox: As an artist who approached paintings from its advertisement viewpoint he mentioned how paintings is debased via cash.
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Extra info for Andy Warhol (The Arts)
The second course with Morey, in medieval art, fixed his decision to pursue art scholarship. Synthesizing multiple aspects of medieval culture, from folklore and handicrafts to theology, fascinated Barr from the beginning. Recognized as one of the leading scholars of medievalism, Morey established it as a course of study in the United States. Joining the faculty in 1906, Morey was among the second generation of professors appointed by Marquand who were Barr’s teachers. In the American spirit of exploration, Morey turned to areas characterized by their scarcity of documents and monuments, such as Hellenistic, pre-Gothic, and so-called “primitive” Italian art.
45 BARR MOVES ON TO VASSAR Barr had set a five-year plan for himself of working and going to school in alternate years to finance his education. After graduating from Princeton in the summer of 1923 and spending his vacation time in Vermont, he arrived at Vassar College in the fall to teach art history for a year. This obliged him to assist in teaching several courses—one in Italian sculpture, another in Italian painting from early Christian times through the Renaissance, and a third in northern European painting—all in the first semester.
His appearance was important—he dressed very carefully, to the hilt. [He was] conscious of appearance, of deportment. ”25 King described Barr’s stance toward art as continually critical, appraising everything both analytically and synthetically. Barr “was always interested in the platonic underlying forms . . ” An example of Barr’s analytical approach, he thought, was the cold perfection he saw in the work of Michelangelo, while King, in contrast, felt that a “boiling” lay beneath the exterior of the works.