Attributable to Jasper Johns - Untitled

The artistic expression that developed in the post-World War II years saw the emergence of new movements that broke away from figurative art. Abstract Expressionism, which dominated the contemporary art world, was superseded in the mid-1950s. New trends, which rediscovered the lessons of Duchamp and Dada, sought to offer a new type of image that transcended the figurative aspect to focus on the perception of forms and objects found in everyday reality. Interpreters of this new movement included John Chamberlain, Jasper Johns, Robert Rauschenberg, Jim Dine, Robert Watt, Robert Indiana, and Bruce Conner, to name a few. These artists paved the way for the future pop art. The works developed toward what were called sculpture-paintings, true assemblages. Combine paintings hinted at the new reality with its tendencies toward consumerism. French art critic Pierre Restany spoke in Europe of "new realisms." Jasper Johns places himself within this new artistic climate, gradually beginning to abandon the technique of action painting, focusing on symbols, numbers and dense colour which in the work is stripped of any symbolic meaning to introduce us to their consumption.       During the 1960s, where the painting is situated in time, Johns's work focuses on map motifs and signs, more specifically on the theme of human imprints. The work we are looking at tends to depict human marks on the canvas. The two-tone canvas, combined with numbers and words, draws us into a conceptual dimension where different motifs coexist. Although the work still tends to regard the object as a human mark, numbers and words tend toward the abstraction of the canvas, evident in the horizontal and vertical stripes. In particular, the vertical aspect of the dark blue paint that runs across the canvas resembles a tree or a lamppost, thus referencing everyday objects. Signs, stripes, and words provide a conceptual testimony to art.   Born on May 15, 1930, American artist Jasper Johns is considered the father of conceptual and pop art. Born in Augusta, Georgia, Johns grew up in Allendale, South Carolina, where he attended the University of South Carolina, and later settled in New York. In 1949, he briefly attended Parsons School of Design. Art had always been a passion of his, and in 1954, after returning from the war, he found a job at the Marlboro Books bookstore. Through writer Suzi Gablik, he met his lifelong friend, Robert Rauschenberg, and, along with other figures such as Merce Cunningham and John Cage, they would revolutionize the history of art. The works that made the artist famous were the first series within the New Dada movement, including "Target with Four Faces," "Target with Plaster Casts," the number sequences, and the famous artwork "White Flag" from 1955. The latter was preceded by "Flag" from 1954, a reinterpretation of the American flag with several variations. From the 1960s onward, the American artist's work was distinguished by its reinterpretation of pop and minimalist elements, with the works "Map" and "Numbers in Color." His international recognition came with his participation in the 1958 Venice Biennale.

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