Allan D'Arcangelo
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Recognized as a major Pop artist in his day, Allan D'Arcangelo (1930-1998) has yet to receive the critical reevaluation of painters like Roy Lichtenstein and James Rosenquist. His first monograph in nearly a decade introduces new audiences to his iconic paintings, particularly his celebrated visions of life on the road. Like Pop peers Andy Warhol and Ed Ruscha, Allan D'Arcangelo incorporated mass-manufactured images in works that elevate scenes of everyday American life. While his work often features imagery from more familiar 1960s art-Jacqueline Kennedy and Marilyn Monroe, smoking pin-up gir...
Recognized as a major Pop artist in his day, Allan D'Arcangelo (1930-1998) has yet to receive the critical reevaluation of painters like Roy Lichtenstein and James Rosenquist. His first monograph in nearly a decade introduces new audiences to his iconic paintings, particularly his celebrated visions of life on the road. Like Pop peers Andy Warhol and Ed Ruscha, Allan D'Arcangelo incorporated mass-manufactured images in works that elevate scenes of everyday American life. While his work often features imagery from more familiar 1960s art-Jacqueline Kennedy and Marilyn Monroe, smoking pin-up girls, Superman, Lucky Strike-it differs in the surreal elements he introduced to Pop tropes and romantic views of the American industrial landscape. D'Arcangelo once observed his "most profound experiences of landscape were looking through the windshield." The artist brought a Pop sensibility to the tradition of landscape painting in a graphic style that touched on Minimalism, Precisionism, and Hard-edge painting. Often framed from the perspective of the driver's seat, D'Arcangelo's work captures the deeply American experience of flying down an endless road. D'Arcangelo's signature scrolling landscape cut through with flashing signs is as familiar to road trippers as it is to video game racers. This comprehensive publication includes over 200 reproductions and three essays detailing what critic Dore Ashton describes as the "poetic awareness of the vastnesses both visible and invisible in American life [that] marked and distinguished [D'Arcangelo's] work." This book is edge stained.
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