Peter Blake: Collage

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Blake made sleeves for theBand Aidsingle, "Do They Know It's Christmas?" (1984),Paul Weller'sStanley Road(1995) and theIan Durytribute albumBrand New Boots and Panties(2001;) -Blake was Dury's tutor at theRoyal College of Artin the mid-60s- and more. He was also the designer for LiveAid's poster circa 1985. Carpet Designed by Peter Blake for the British Supreme Court; Matt Brown from London, England, CC BY 2.0, via Wikimedia Commons

Natalie Rudd: Your journey from childhood to art school was an eventful one, wasn’t it? You were pulled in many different directions. There was pop music in the Pop Art room, and Elgar in the Ruralist room. He recalls: “It was popular with some of the public, but a lot of people were quite angry about it!” Peter Blake’s Pop art artwork Girlie Door, from 1959, is a door painted red, with images of women and movie stars, such as Marilyn Monroe and Sophia Loren. All are staring directly at the viewer. The work of collage and assemblage on hardboard recalls a bedroom of a teenaged boy. Self Portrait with Badges (1961) Self Portrait with Badges (1961) Peter Blake. Tate, London, United Kingdom. a b Higgins, Ria (30 May 2004). "Relative Values: The 1960s artist Sir Peter Blake, and his daughter Rose". The Times . Retrieved 30 January 2018. The Pop art movement began in England, during the mid-twentieth century and provided a radical shift in how art had been viewed throughout art history. Blending fine art with popular culture, pop artists incorporated images from everyday life, including advertising, images from comic books, newspapers, television, film, and consumer goods. Peter Blake and Pop Art StyleHer focal points of interest in art history encompass profiling specific artists and art movements, as it is these areas where she is able to really dig deep into the rich narrative of the art world. Additionally, she particularly enjoys exploring the different artistic styles of the 20 th century, as well as the important impact that female artists have had on the development of art history. Over the next few years, Blake returned often to the junk shop, buying toys, books and cheap, unfashionable Victoriana. The duality of his life at that time – a working-class world of cycling, football and speedways with his dad and professional wrestling matches with his mum and aunt, and the wide-ranging art/design education he received from tutors such as Enid Marx, coauthor of English Popular Art, 1951 – has underpinned his work ever since. For Comparison, let’s look at Target by artist Jasper Johns (1955) Museum of Modern Art, New York. Target by artist Jasper Johns (1955) Museum of Modern Art, New York The Beach Boys (1964) The Beach Boys (1964). Collection of the Tate, in London, United Kingdom.

Blake has said, “You simply can’t make art without having that history of art behind you and I think if you asked any artist, they would always say they had learned from previous art. Perhaps I show that more than most in that I often appropriate art and quote from it.”

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When the Tate Gallery gave him a one-man show, in 1983, he had music playing in the exhibition – something Tate had never done before. The RDS was established in 2000 by Catherine Goodman, its artistic director, and the Prince of Wales. Goodman said that art education changed in the early 1990s when “the concept was becoming the dominant thing, rather than the perceptual approach to making an image”. Ever since the 60s, Peter Blake is regarded the original godfather of British Pop Art. A key member of the burgeoning artist movement, Blake has been one of the best-known British artists of his generation showing his artistry in all formats, from collage throughsculpture, engraving or printmaking. In 1961, Peter Blake took part in the Young Cotemporary’s Exhibition at London’s Whitechapel Gallery. Later that same year, the artist took part in a group art exhibition called Blake, Boty, Porter, Reeve at A.I.A Gallery, also in London. Peter Blake and Art on Film

Ian Dury, whom he’d taught at art school, wrote a song for the exhibition, called Peter The Painter: “It’s a lovely song – it’s his homage to me, which is very nice.” Blake returned the compliment after Dury’s death, when he painted a portrait of Dury, for a tribute album in his honour. Founded in 2003 by Frieze magazine, the international art journal, Frieze Art Fair has become an annual highlight of the British art scene (there’s also a parallel Frieze Art Fair in New York). Joseph Cornell’s Holiday – Greece, Athens. ‘The Butterfly Man comes out of retirement to stage a Fly-past for 3 coach parties – Women Artists, Famous Blondes and Joseph Cornell’s Wanderlust Tour’ (2017), Peter Blake. Courtesy Waddington CustotAlthough this work is now Peter Blake’s most recognizable, he was paid a minimal wage of 200 British pounds sterling for the vinyl record cover. He would however go on to create numerous album sleeves for other bands. Peter Blake Education and Early Art Recalling his time studying at the Slade in the 1990s, Stuart Pearson Wright, who has paintings in the National Portrait Gallery, said they weren’t “really taught any drawing at all. I taught myself to draw”. There are plenty of other riches, though – including three charming, abstract collages from the 1950s. These were made by pasting rectangular bits of cloth, paper and silver foil onto a board, in arrangements that recall the canvases of Mark Rothko. An avid collector, Blake’s collages combine junkyard treasures and found objects with images from popular culture. He revisits themes drawn from his childhood – the entertainments of the circus, the glamour of the cinema and the showmanship of the wrestling ring – weaving detailed, often humorous narratives. From his early paintings depicting assembled fragments of popular imagery, to his found-object constructions and his most recent inkjet print collages, Blake has broadened the scope of what collage can be and communicate. Glaser, Shirley (15 December 1969). "IN SEARCH OF PRINTS CHARMING". New York Magazine. New York Media, LLC . Retrieved 5 September 2022.