{"id":5474,"date":"2023-04-22T13:32:27","date_gmt":"2023-04-22T17:32:27","guid":{"rendered":"https:\/\/robinrosenbergfineart.com\/?p=5474"},"modified":"2023-06-03T13:37:42","modified_gmt":"2023-06-03T17:37:42","slug":"a-dessin-pour-un-trait-dhumour","status":"publish","type":"post","link":"https:\/\/robinrosenbergfineart.com\/fr\/a-dessin-pour-un-trait-dhumour\/","title":{"rendered":"\u00c0 \u00ab dessin \u00bb pour un trait d\u2019humour"},"content":{"rendered":"
\"\"
Roy Lichtenstein,\u00a0Sweet Dreams, Baby!<\/em>, 1965, s\u00e9rigraphie, 200\u00a0exemplaires, 93,98 x 68,58\u00a0cm.<\/figcaption><\/figure>\n

 <\/p>\n

L\u2019esth\u00e9tique de la bande dessin\u00e9e et des m\u00e9dias anim\u00e9s entre aux beaux-arts dans les ann\u00e9es\u00a01960, alors que des artistes pop comme Andy\u00a0Warhol et Roy\u00a0Lichtenstein commencent \u00e0 les parodier. Le fait de pr\u00e9senter ces \u0153uvres dans de nobles galeries et mus\u00e9es estompe la d\u00e9marcation traditionnelle entre le grand art et la culture populaire. Lichtenstein s\u2019inspire particuli\u00e8rement de la bande dessin\u00e9e en imitant le motif tachet\u00e9 de l\u2019impression sur de grandes toiles.<\/p>\n

Keith\u00a0Haring et Kenny\u00a0Scharf sont \u00e0 l\u2019avant-garde d\u2019un paysage artistique post-pop qui fusionne le pop art et les graffitis, n\u00e9ons et couleurs psych\u00e9d\u00e9liques de la vie nocturne new-yorkaise. Ils ont adopt\u00e9 les strat\u00e9gies des graffiteurs\u00a0: leurs \u0153uvres embellissent des infrastructures d\u00e9labr\u00e9es. Haring est c\u00e9l\u00e8bre pour avoir anim\u00e9 les tunnels du m\u00e9tro avec ses marques de faux na\u00effs. Le langage visuel qui en r\u00e9sulte est une association caract\u00e9ristique des formes de la bande dessin\u00e9e et des d\u00e9buts de la culture hip-hop.<\/p>\n

\"\"
Keith Haring, dessins dans le m\u00e9tro<\/figcaption><\/figure>\n
\"\"
Keith Haring,\u00a0Pop Shop II<\/em>, 1988, s\u00e9rigraphie, 200\u00a0exemplaires, 30,48 x 38,1\u00a0cm.<\/figcaption><\/figure>\n
\"\"
Kenny Scharf, Judy on the Beach<\/em>, 1987, s\u00e9rigraphie, 76,2 x 109,98\u00a0cm, 75\u00a0exemplaires.<\/figcaption><\/figure>\n

Simultan\u00e9ment, des artistes \u00e9mergents des ann\u00e9es\u00a01980 et 1990 impr\u00e8gnent les formes de m\u00e9dias anim\u00e9s de l\u2019esth\u00e9tique du punk rock. \u00c0 cette \u00e9poque, Joyce\u00a0Pensato, qui avait d\u00e9j\u00e0 la cinquantaine, porte l\u2019uniforme noir de la jeunesse punk et travaille dans un studio rempli de produits d\u00e9riv\u00e9s de dessins anim\u00e9s comme des peluches de Mickey et des figurines d\u2019Homer\u00a0Simpson. Avec ses lignes noires distinctives, l\u2019artiste donne une tournure sinistre et punk \u00e0 des ic\u00f4nes bien-aim\u00e9es. Comme Pensato, Yashimoto\u00a0Nara utilise l\u2019influence du punk pour subvertir la culture japonaise du kawaii<\/em> (un penchant culturel pour le mignon) qui caract\u00e9rise les genres du manga et de l\u2019anim\u00e9.<\/p>\n

\"\"
Joyce Pensato,\u00a0Felix<\/em>, 2007, \u00e9mail et peinture m\u00e9tallique sur lin, 274,32 x 182,88 cm.<\/figcaption><\/figure>\n
\"\"
Yoshitomo Nara,\u00a0Missing in Action<\/em>, 1999, acrylique sur toile, 180,02 x 144,94\u00a0cm.<\/figcaption><\/figure>\n

Mickey et la culture du kawaii<\/em> occupent aussi une place importante dans la pratique de Takashi\u00a0Murakami et de KAWS. Ancien illustrateur de Disney, KAWS d\u00e9ploie continuellement dans ses figurines une version monochrome aux yeux morts du c\u00e9l\u00e8bre personnage de la soci\u00e9t\u00e9. La souris mutante \u00e0 dents de rasoir de Murakami est au c\u0153ur de son \u0153uvre. Les deux artistes s\u2019associent souvent avec des marques et des fabricants pour produire des ready-mades en \u00e9dition limit\u00e9e, ce qui floue la distinction entre art et production industrielle.<\/p>\n

Pour en savoir plus sur les artistes contemporains qui travaillent avec l\u2019esth\u00e9tique des m\u00e9dias anim\u00e9s, n\u2019h\u00e9sitez pas \u00e0 nous contacter<\/a>!<\/p>\n

\"\"
KAWS,\u00a0Small Lie (jeu de<\/em> 3)<\/em>, 2017, vinyle coul\u00e9 peint, 27,94 x 12,7 x 11,43\u00a0cm (chacun).<\/figcaption><\/figure>\n
\"\"
Takashi Murakami,\u00a0Homage to Francis Bacon (\u00e9tude de George Dyer),\u00a0<\/em>2004, lithographie en offset, 300\u00a0exemplaires, 68,07 x 68,07\u00a0cm.<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

L\u2019esth\u00e9tique de la bande dessin\u00e9e et des m\u00e9dias anim\u00e9s entre aux beaux-arts dans les ann\u00e9es 1960, alors que des artistes pop comme Andy Warhol et Roy Lichtenstein commencent \u00e0 les parodier. <\/p>\n","protected":false},"author":1,"featured_media":5468,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[26],"tags":[],"class_list":["post-5474","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artistes"],"acf":[],"yoast_head":"\n\u00c0 \u00ab dessin \u00bb pour un trait d\u2019humour - Robin Rosenberg Fine Art<\/title>\n<meta name=\"description\" content=\"L\u2019esth\u00e9tique de la bande dessin\u00e9e et des m\u00e9dias anim\u00e9s entre aux beaux-arts dans les ann\u00e9es 1960, alors que des artistes pop comme Andy Warhol et Roy Lichtenstein commencent \u00e0 les parodier.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/robinrosenbergfineart.com\/fr\/a-dessin-pour-un-trait-dhumour\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00c0 \u00ab dessin \u00bb pour un trait d\u2019humour - 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