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292:. The series shows the silhouette of a pregnant woman. Her body is the symbol for the longevity of the people and for the possibility of a new beginning of each generation, freed from the mistakes of their parents' generation. But simultaneously, Gill seems to suggest that even the unborn child is caught: Born in the cauldron of a nuclear family, the younger generation could be the unfortunate heir of the world, which they did not even form themselves, but by which it was itself formed.
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427:, Gill as an artist has become witness of a whole generation. These celebrated public characters also marked the substance of Gill’s work, which he is trying to convey through various techniques and compositions. Today’s art of James Gill is a fusion of realism and abstraction. Photos still remain the foundation of his art. He now sets the image composition of his paintings in the computer and works consciously with mounting effects which he describes as
120:. His mother, an interior decorator and entrepreneur, encouraged him to have an artistic interest. In high school, Gill and some friends started a rodeo club to pursue their first dream of being cowboys. During his military service, Gill worked as a draftsman and designed posters. Back in Texas, he continued his education at the San Angelo College and continued working for an architectural firm. In 1959, Gill studied at the
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314:. Gill was at the peak of his career, and very popular in the Pop art scene. But many contemporaries saw a profound and complex sense in his works, expressing more than Pop art originally intended: “Gill is a prominent artist of Pop art, although he is too much a painter and treats its subjects in a very emotionally charged way, than only being regarded as a Pop artist".
227:
art and his graphite pencil went against the trend of this time. William Inge described the dark graphite pencil compositions as follows: "His paintings hold a moment of truth, which is of unfortunate beauty and makes memorable". In this way, Gill goes even further than the often apolitical intent of
322:
In 1972, Gill went surprisingly into a self-imposed exile, in the expectation of being able to maintain a kind of long-distance relationship with the art scene. He wanted to develop his artistic expression, without being delivered to the constraints of the material world. He stated, "at the time I
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of the
Smithsonian American Art Museum called him and asked for an interview. This marked the beginning of his rediscovery, and numerous galleries and museums became aware of him again. Around 1987, Gill started to work with the tools of computer design, using "the computer and the printer as a
228:
the early movements of pop art. By addressing his paintings for example with the
Vietnam War, his works gain an additional socio-critical dimension which provides a much wider range than the mere and superficially not intended criticism of pop art in consumer society.
391:
Around 2010, Gill's late creative phase began, in which – in contrast to the dominance of political motives in the early works – the artist increased the focus on the presentation of classic Pop art icons such as
262:. The figure transforms from a faceless into a smiling man who has regained his freedom. Gill: "All the people are political prisoners in the way that they are prisoners of the system in which they are born".
353:
Parallel to his work as an architectural designer in
Northern California, Gill began again with painting in the mid 1980s. He returned to Texas and developed his art, but without going to the public.
201:
described the men in these paintings as “figures of high public reputation, momentarily caught in some nefarious act that will probably destroy their political or professional reputations”.
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dilemma (…). So, when I drove up through the
California redwoods and up along the coast, the beauty of the place blew my mind and I realized that I didn’t have to live in Los Angeles."
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for around five years. Gill’s sources have always come from the present. His recognition as an artist has not only been based on the portraits of famous personalities such as
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After the professorship in Oregon, Gill sold his house, numerous pictures and drawings, so he could buy land and a house in Whale Gulch in the southern portion of the
899:
Kimberly S. Bushby: James Gill: The power of pop-icons in the age of celebrity, in: James
Francis Gill: Catalogue Raisonné of Original Prints (Vol. 1.) 2017, p. 10.
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288:, but to a large extent on his works which turned the political power structure and the war itself into question. An important work from this period is
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404:(which was included in the collection of the Museum of Modern Art even before the works of Andy Warhol) has exerted an unbroken fascination on him.
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245:. This exhibition led to Gill's breakthrough in the international art world. His works were included in the collections of major museums.
193:. His work in these years was often depressing and bleak in tone and mood. Main themes were the social and political affairs such as the
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223:. As a draftsman, Gill earned a reputation for handling contemporary issues through photographic images. The combination of his
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into its permanent collection. At the peak of his career, Gill retired. He returned to the art scene around 30 years later.
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or
Marilyn Monroe. Gill created numerous works of the American film actress who, since his early success with the
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197:. Gill created a series of anti-war paintings which dealt with civil and military leaders. The playwright
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219:. The composition formally joins the media coverage of the United States with the combat conditions in
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5. Auflage. Whitney Museum of
American Art Catalogue of the Collection. Cummings, Paul (1987), 1974.
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Awarded
Purchase Prize, Sixty-seventh Annual American Exhibition, The Art Institute of Chicago, 1964
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258:, who had just escaped from a Russian labor camp. Gill produced the image as a four-panel
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However, his life changed dramatically when about ten years later, the art magazine
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was pretty well strung out on a lot of stuff, strung out on fame and art and the
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Gallery. In
November 1962, the Museum of Modern Art in New York – as a gift of
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In: James
Francis Gill: Catalogue Raisonné of Original Prints (Vol. 1).
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For the first time in 2005, a retrospective was held in his hometown
84:(born 1934) is an American artist and one of the protagonists of the
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673:
The Artists Bluebook 34,000 North American Artists to March 2005.
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National Portrait Gallery Collection Illustrated Checklist.
150:, carrying in his luggage numerous works of art including
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The Painter and the Photograph: From Delacroix to Warhol.
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afterwards. Then he concentrated on his artistic career.
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In 1970, he was offered a visiting professorship at the
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Arising out of a series of anti-war images is the work
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Painting and Sculpture in the Museum of Modern Art.
237:in Brazil showed Gill's works with artists such as
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59:
40:
21:
682:L.A. RAW. Pasadena Museum of California Art. 2005.
234:SĂŁo Paulo 9 - Environment United States: 1957-1967
668:University of New Mexico Press, Albuquerque 1964.
450:1963/1965/1967 Felix Landau Gallery, Los Angeles
656:The power of pop-icons in the age of celebrity.
877:Jim Edwards, William Emboden, David McCarthy:
861:Glimpses of Truth: The Paintings of James Gill
687:Uncommonplaces: The Art of James Francis Gill.
685:Jim Edwards, William Emboden, David McCarthy:
938:Column of Henry J. Seldis, art editor of the
907:
905:
879:Uncommonplaces: The Art of James Francis Gill
124:, in order to work in architecture design in
8:
821:"Westlake art show draws fans of James Gill"
729:Sincerely Disturbed: James Gill and Vietnam.
649:Dictionary of Contemporary American Artists.
594:Stanford University Center for Visual Arts,
873:
871:
869:
736:James Francis Gill – The Absence of Color.
29:
18:
814:
812:
627:Art fellowship, University of Texas, 1959
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708:Art, Design and the Modern Corporation.
466:1970 Civic Center, Topanga, California
536:Museum Moderner Kunst Stiftung Ludwig
189:In 1965, Gill taught painting at the
7:
717:Carroll & Graf Publishers. 1993.
407:Through personal acquaintances with
248:In the same year, Gill was asked by
166:– added his three-part painting of
1065:20th-century American male artists
547:National Museum of the U.S. Navy,
276:The work hung in the lobby of the
176:Laughing Women in car and Close-up
14:
722:Movements in Modern Art: Pop Art.
713:Eberhard and Phyllis Kronhausen:
975:dated September 10th, 2014, p. 2
775:East Coast-West Coast Paintings.
706:Neil Harris, Martina R Norelli:
254:magazine to portray the Russian
589:Smithsonian American Art Museum
385:MM a Critique of Mass Iconology
174:to its collection. His drawing
1025:American contemporary painters
1020:21st-century American painters
1010:20th-century American painters
819:Fischer, Sophia (2008-04-10).
671:Lonnie Pierson Dunbier (Ed.):
615:Whitney Museum of American Art
566:San Angelo Museum of Fine Arts
544:Museum of Modern Art, New York
512:2017 Museum of the Southwest,
499:2015 Art Southampton, New York
471:San Angelo Museum of Fine Arts
444:1962/1964/1966 Alan Gallery,
178:was shown between drawings by
1:
1040:People from San Angelo, Texas
318:Withdrawal from the art scene
122:University of Texas at Austin
694:Who Was Who in American Art.
602:The Art Institute of Chicago
453:1964 Galeria George Lester,
295:In 1969, Gill taught at the
16:American painter (born 1934)
1055:University of Idaho faculty
1045:American postmodern artists
768:40 Now California Painters.
692:Peter Hastings Falk (Ed.):
644:Museum of Modern Art, 1977.
579:Santa Barbara Museum of Art
520:Works in public collections
48:1934 (age 89–90)
1081:
1005:American portrait painters
734:Premium Modern Art (Ed.):
701:Who's Who in American Art.
154:which he presented to the
112:In 1934, Gill was born in
1035:People from Tahoka, Texas
759:Smithsonian Institution:
554:National Portrait Gallery
284:, Marilyn Monroe and the
28:
834:"LIFE January 25, 1963"
798:Video documentation 2014
773:University of Oklahoma:
527:University of California
297:University of California
699:Jaques Cattell Harris:
439:Exhibitions (selection)
146:In 1962, Gill moved to
1015:American male painters
766:Tampa Bay Art Center:
459:1966 Crocker Gallery,
421:Martin Luther King Jr.
388:
350:
273:
256:Alexander Solzhenitsyn
212:
143:
944:on November 8th, 1965
788:Website of James Gill
525:Berkeley Art Museum,
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345:
332:King Range Wilderness
268:
207:
134:
1060:American pop artists
849:Museum of Modern Art
654:Kimberly S. Bushby:
486:Pasadena, California
308:University of Oregon
93:Museum of Modern Art
973:Wochenspiegel Trier
754:Art Across America.
482:Pasadena Art Museum
387:- Serigraphy (2013)
370:Museum of Fine Arts
191:University of Idaho
1050:Artists from Texas
747:Los Angeles Times.
741:Henrey J. Seldis:
591:, Washington, D.C.
556:, Washington, D.C.
490:2013 art Karlsruhe
389:
351:
325:Political Prisoner
290:Political Prisoner
278:Time-Life building
274:
270:Political Prisoner
213:
164:Dominique de Menil
144:
82:James Francis Gill
45:James Francis Gill
941:Los Angeles Times
749:November 8, 1965.
647:John I. H. Baur:
622:Honors and awards
480:2012 “L.A. Raw“,
347:Behind the shadow
118:San Angelo, Texas
116:, and grew up in
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836:books.google.com
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727:David McCarthy:
720:David McCarthy:
696:1564–1975. 1999.
678:Michael Duncan:
664:van Deren Coke:
640:Alfred H. Barr:
549:Washington, D.C.
402:Marilyn Triptych
349:, restudy (2003)
172:Marilyn Triptych
136:Marilyn Triptych
97:Marilyn Tryptych
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839:August 22, 2011
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361:drawing tool".
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282:John F. Kennedy
140:left side panel
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782:External links
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514:Midland, Texas
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168:Marilyn Monroe
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425:Marlon Brando
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243:Edward Hopper
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231:In 1967, the
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225:expressionist
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206:
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177:
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160:John de Menil
157:
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152:Women in Cars
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114:Tahoka, Texas
107:
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95:included his
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91:In 1962, the
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68:
65:
62:
58:
53:
52:Tahoka, Texas
43:
39:
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929:dto., p. 212
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863:, 1965, p. 2
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752:Peter Selz:
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635:Bibliography
598:, California
585:, California
463:, California
432:
428:
417:Jim Morrison
413:Kirk Douglas
406:
401:
390:
384:
363:
358:American Way
357:
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249:
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233:
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217:The Machines
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209:The Machines
208:
199:William Inge
188:
184:Odilon Redon
175:
171:
156:Felix Landau
151:
145:
135:
111:
96:
90:
81:
80:
35:Gill in 2008
1000:1934 births
984:dto., p. 66
962:dto., p. 59
920:dto., p. 46
911:dto., p. 44
890:dto., p. 36
743:James Gill.
715:Erotic Art.
508:South Korea
433:Mixed Media
409:Tony Curtis
398:Paul Newman
338:Rediscovery
260:quadriptych
239:Andy Warhol
195:Vietnam War
148:Los Angeles
108:Early works
994:Categories
804:References
617:, New York
570:San Angelo
475:San Angelo
461:Sacramento
394:John Wayne
376:Late works
366:San Angelo
88:movement.
23:James Gill
610:Illinois
596:Stanford
531:Berkeley
429:Metamage
138:(1962) (
70:Movement
64:Painting
606:Chicago
477:, Texas
368:at the
286:Beatles
221:Vietnam
180:Picasso
170:called
86:Pop art
74:Pop art
881:, 2005
561:Kassel
540:Vienna
312:Eugene
301:Irvine
272:(1968)
211:(1965)
126:Odessa
54:, U.S.
777:1968.
770:1968.
763:1985.
756:1965.
738:2018.
731:2005.
724:2000.
710:1985.
703:1976.
689:2005.
680:Gill.
675:2005.
660:2017.
574:Texas
502:2016
493:2014
469:2005
971:See
745:In:
455:Rome
423:and
251:Time
241:and
182:and
162:and
103:Life
41:Born
431:or
310:in
299:in
996::
904:^
868:^
811:^
608:,
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142:)
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