{"product_id":"rare-original-1967-minimalist-mod-pop-art-allan-d-arcangelo-unique-ink-drawing","title":"Rare Original 1967 Minimalist Mod Pop Art Allan D'Arcangelo Unique Ink Drawing","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 16.0, W: 19.0 IN\u003c\/p\u003e\u003cp\u003eAllan D'Arcangelo (American\/New York, 1930-1998), 1967 Cloud and Tree Note affixed to back Frame: 16 X 19 Image: 14 X 17\u003c\/p\u003e\u003cp\u003eHand signed in pencil and dated lower right 1967, titled bottom center \"Landscape\", and lower left\u003c\/p\u003e\u003cp\u003einscribed in pencil \"For Al Lerner\". Sight seen\u003c\/p\u003e\u003cp\u003eapprox. 17\" x 14\". Verso includes handwritten note from the artist to Al Lerner.....\"Dear Al, I thought you might like to have this since you were\u003c\/p\u003e\u003cp\u003ethe first to see my new clouds and trees., Alan\".\u003c\/p\u003e\u003cp\u003eAllan D'Arcangelo (1930-1998) was an American artist and printmaker, best known for his paintings of highways and road signs that border on pop art and minimalism, precisionism, Abstract illusionism and hard-edge painting and also surrealism. His subject matter is distinctly American and evokes, at times, a cautious outlook on the future of this country. Allan D'Arcangelo was the son of Italian immigrants. He studied at the University of Buffalo from 1948–1953, where he got his bachelor's degree in history. After college, he moved to Manhattan and picked up his studies again at the New School of Social Research and the City University of New York, City College. At this time, he encountered Abstract Expressionist painters who were in vogue at the moment. After joining the army in the mid 1950s, he used the GI Bill to study painting at Mexico City College from 1957–59, driving there over 12 days in an old bakery truck retrofitted as a camper. However, he returned to New York in 1959, in search of the unique American experience. It was at this time that his painting took on a cool sensibility reminiscent of Roy Lichtenstein and Andy Warhol.\u003c\/p\u003e\u003cp\u003eHis interests engaged with the environment, anti-Vietnam War protests, and the commodification and objectification of female sexuality.\u003c\/p\u003e\u003cp\u003eD'Arcangelo first achieved recognition in 1962, when he was invited to contribute an etching to The International Anthology of Contemporary Engraving: America Discovered; his first solo exhibition came the next year, at the Thiebaud Gallery in New York City. In 1965 he contributed three screenprints to Original Edition's 11 Pop Artists portfolio. By the 1970s, D'Arcangelo had received significant recognition in the art world. He was well known for his paintings and collage sculpture of quintessentially American highways and infrastructure, and in 1971 was commissioned by the Department of the Interior to paint the Grand Coulee Dam in Washington state. However, his sense of morality always trumped his interest in art world fame. In 1975, he decided to quit the gallery that had been representing him for years, Marlborough Gallery, because of the way they handled Mark Rothko legacy.\u003c\/p\u003e\u003cp\u003eD'Arcangelo rejected Abstract Expressionism, though his early work has a painterly and somewhat expressive feel. He quickly turned to a style of art that seemed to border on Pop Art and Minimalism, Precisionism and Hard-Edge painting. Evidently, he didn't fit neatly in the category of Pop Art, though he shared subjects (women, signs, Superman) and techniques (stencil, assemblage) with these artists.He turned to expansive, if detached scenes of the American highway. These paintings are reminiscent of Giorgio de Chirico-though perhaps not as interested in isolation-and Salvador Dali-though there is a stronger interest in the present and disinterest in the past. These paintings also have a sharp quality that is reminiscent of the precisionist style, or more specifically, Charles Sheeler. 1950s, Before D'Arcangelo returned to New York, his style was roughly figurative and reminiscent of folk art. During the early 1960s, Allan D'Arcangelo was linked with Pop Art. \"Marilyn\" (1962) depicts an illustrative head and shoulders on which the facial features are marked by lettered slits to be \"fitted\" with the eyebrows, eyes, nose and mouth which appear off to the right in the composition. In \"Madonna and Child,\" (1963) the featureless faces of Jackie Kennedy and Caroline are ringed with haloes, enough to make their status as contemporary icons perfectly clear.\u003c\/p\u003e\u003cp\u003eSelect Exhibitions: Fischbach Gallery, New York,\u003c\/p\u003e\u003cp\u003eIleana Sonnabend Gallery, Paris, Gallery Müller, Stuttgart, Germany Hans Neuendorf Gallery, Hamburg, Germany Dwan Gallery, Los Angeles Galerie Ricke, Kassel, Germany,\u003c\/p\u003e\u003cp\u003eObelisk Gallery, Boston,\u003c\/p\u003e\u003cp\u003eMinami Gallery, Tokyo, Württembergischer Kunstverein, Stuttgart, Germany Lambert Gallery, Paris Albright-Knox Art Gallery, Buffalo,\u003c\/p\u003e\u003cp\u003eMuseum of Contemporary Art, Chicago,\u003c\/p\u003e\u003cp\u003eMarlborough GalleryPatricia Moore Gallery, Aspen, Colorado Hokin Gallery, Chicago Grace Borgenicht Gallery,\u003c\/p\u003e\u003cp\u003eRetrospettiva, Palazzina dei Giardini, Modena, Italy Mitchell Innes \u0026amp; Nash,\u003c\/p\u003e\u003cp\u003eBeyond Pop: Allan D'Arcangelo, Hollis Taggart Galleries, Garth Greenan Gallery, New York, Pi in the Sky, Waddington Custot, London, UK,\u003c\/p\u003e\u003cp\u003eSelect Group Exhibitions Allan D'Arcangelo: Bilder und John Chamberlain: Plastiken, Galerie Rudolf Zwirner, Arakawa, Allan D'Arcangelo, Mark di Suervo, Robert Grosvenor, Anthony Magar, Neil Williams, Dwan Gallery, Los Angeles,\u003c\/p\u003e\u003cp\u003eAmerican Painting Now, ACA Gallery, Boston Contemporary Drawings, New York University Pop Art Americana: D'Arcangelo, Jim Dine, Kelly, Lichtenstein, Claes Oldenburg, Phillips, Mel Ramos, James Rosenquist, George Segal, Warhol, John Wesley, Tom Wesselman, Galleria De' Foscherari, Bologna, Italy Frank O'Hara \/ In Memory of My Feelings, Museum of Modern Art, New York,\u003c\/p\u003e\u003cp\u003eAnnual Exhibition of Contemporary American Painting Whitney Museum of American Art Beyond Literalism: An Exhibition of Painting and Sculpture by Allan D'Arcangelo, Charles Fahlen, Jack Krueger, Naoto Nakagawa, Frank Roth, William Schwedler, William Wiley, Guggenheim Museum of Art, New York,\u003c\/p\u003e\u003cp\u003eFotos Aus Der Kunstszene New York, Kunstmuseum Düsseldorf,\u003c\/p\u003e\u003cp\u003eArtists Salute Skowhegan, Kennedy Gallery, New York,\u003c\/p\u003e\u003cp\u003eContemporary American Art, Minneapolis Institute of Art, Minnesota\u003c\/p\u003e\u003cp\u003eFrom 1963 to 1968, Chiron Press was the ground-zero of the fledgling Pop Art scene. Founded in a tiny storefront on 614 East 11th Street in New York City, it was the first print atelier in New York City, indeed in the country, devoted to screen printing for artists. Andy Warhol, Roy Lichtenstein, James Rosenquist and Claes Oldenburg made silkscreen prints at Chiron. Alfred Jensen, Valerie Jaudon\u003c\/p\u003e\u003cp\u003emade early prints there. Chiron Press also worked with many female artists, including Marisol, Elaine DeKooning Louise Nevelson and Helen Frankenthaler.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628377571626,"sku":"a_14733692S1","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_27DED2CBC92149FCB63F8F39CB592B8E_master_0352a6c5-1d04-4160-873d-96371b160e46.jpg?v=1780509720","url":"https:\/\/lionsgallery.com\/products\/rare-original-1967-minimalist-mod-pop-art-allan-d-arcangelo-unique-ink-drawing","provider":"Lions Gallery","version":"1.0","type":"link"}