James Rosenquist: Pop Artist or Photorealist?

Following World War II, America experienced a period of regeneration characterized by economic and political growth. The nation was introduced to fresh ideas such as rock and roll, mass production, and television. Despite the changing dynamic of American life, a cultural revolution led by activists and artists developed in the late 1950s. During this movement, a new generation of artists chose to rebel against the traditional view of art and found inspiration in consumerism, everyday objects, and the media. They aimed to create art that was straightforward, recognizable, and bold. Artists wanted to create art that would be relatable to the public and mimic popular culture; this movement was deemed Pop Art.
In the 1960s, the ideal of art once again shifted into something new. At this point, artists wanted to move away from the “created” qualities of paintings such as evident brushstrokes and suggested forms. Visual clarity, complexity, and perfection were the new dynamics of painting. These techniques allowed artists to create paintings that resembled a photographs; this movement became known as Photorealism.
James Rosenquist was a prominent artist during the time of both of these movements. Rosenquist's paintings are characterized as bold and mysterious through his use of color, composition, subject matter, and canvas size. His paintings also contain a lifelike quality with reference to realism through his attention to detail. Although James Rosenquist has been identified as a Pop Artist, there are also tendencies of a Photorealist in his work. I view James Rosenquist as an artist who draws from an array of different movements and techniques and does not fit into one specific category of art.

Andy Warhol, Untitled, part of Marilyn, 1967, screenprint on paper, Tate

Although this is clearly a photograph of Marilyn Monroe, Warhol has rendered the photo in a way that diminishes her humanity. Warhol stylized her hair and made it an unnatural yellow color. This could be a response to her blonde hair color and the social stigma that comes along with it. He colored over her eyes and mouth mimicking the placement of makeup as a way to draw attention to these areas. Warhol used Pop Art techniques to diminish the actresses humanity through the use of color and stylization.

James Rosenquist, Marilyn Monroe, I, 1962, oil and spray enamel on canvas, MoMA

Once again Rosenquist creates a piece derived from Pop Art ideals. Although the image is divided, Marilyn Monroe is such a recognizable face that the viewer can distinguish her as the subject. He pairs her inverted face with an image of the Coca-Cola logo, another well known brand. The intertwined faces, logos, and text represent the effect the actresses fame had on her life and career. This was created following her suicide as a commentary on the power of consumerism and society.

Ralph Goings, Double Ketchup, 1996-1997, oil on canvas

Goings also uses reflections of light to convey a sense of Photorealism to this painting. The dark shadows cast against the granite counter, identical typeface on the label, and reflection of the sunlight and windows on the glass bottles make this painting read more like a photo. At first glance, Goings is able to trick the audience into thinking they are looking at a photograph rather than a painting from his meticulous attention to detail.

James Rosenquist, Dishes, 1964, oil on canvas, Seattle Art Museum

This painting is where we begin to see elements of Photorealism in Rosenquist’s artwork. Although the dishes are still simplified and stylized as found in Pop Art, the rendering of the light is leaning more towards Realism. The cups are reflecting light and casting a stark, white vertical line down the glass. The rims of the plates, bottoms of the mugs, and even the lip of the lonely tin cup all seem to be reflecting light.

James Rosenquist, Gears, 1977, oil on canvas

Rosenquist once again paints with intricate detail in order to construct a painting that could be categorized as Photorealism. The peeled metal shards, detailed gold handled lipsticks, the reflection and shadows of the pearl necklace, and the shiny metal gears all engage the viewer to study the image more intimately. This style of painting can easily allow artworks to be misinterpreted in terms of medium. Rosenquist plays mind games with the viewer and creates the illusion of a photograph with oil paint and a canvas.

 James Rosenquist, House of Fire, 1981, oil on canvas, 1982.90.1a-c

This painting supports the claim that Rosenquist cannot be characterized as either a Pop Artist or a Photorealist; he is an artist who creates with characteristics from both movements. Rosenquist channels elements of Pop Art to accomplish a bold and threatening tone. The stylized grocery bag and illuminated bucket are everyday objects that seem to be integral to the subject matter of the painting. However, the lipstick brigade includes more elements of Photorealism. The light reflecting off the black tubes give a realistic, three dimensional look to the lipsticks and depth to the painting as a whole.