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Email to FriendSigned Jasper Johns, Lithograph, Flag, 1969  |
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| Artist: | Johns, Jasper (1930 - ) |
|---|---|
| Title: | Flag, 1969 |
| Medium: | Original Offset Color Lithograph |
| Image Size: | 26 in x 17 1/4 in (66 cm x 31.1 cm) |
| Sheet Size: | 28 1/2 in x 20 1/3 in (72.4 cm x 52.2 cm) |
| Framed Size: | 43 3/4 in x 36 in (111.1 cm x 91.4 cm) |
| Signed: | Hand-signed by Jasper Johns (Augusta, 1930 - ) in pencil in the lower right margin and signed in the stone in the lower right margin '© Jasper Johns, 1969.' |
| Edition: | Numbered 191/300 (from the edition of 300) in pencil in the lower left margin; published by the Committee Against the War in Vietnam, this piece depicts the image without the text from the Moratorium poster. |
| Condition: | This work is in excellent condition |
| Gallery Price: Item# 3272 | Sorry, this item is sold. Please visit the rest of our Johns fine art collection |
| Historical Description: | |
|---|---|
In 1969, the Leo Castelli Gallery of Los Angeles commissioned Jasper Johns to produce a poster for the National Vietnam Moratorium. This work exemplifies the image that Johns created to evoke his disgust with America's involvement in the Vietnam War. Johns' prior depictions of the American Flag were filled with rich national pride; the flag was exuberantly depicted in red, white, and blue. This flag, however, appears toxic and sickly, with off-putting hues of green, orange, and black in place of the red, white, and blue. The splotchy green utilized in the stripes bares a strong resemblance to camouflage while the white hole in the center brings to mind a bullet hole, as if the flag has been shot through. This powerful piece was created during one of the most tumultuous and violent periods in American history. By applying subtle changes to perhaps the most iconic American image, Johns brought awareness to the horrors of the Vietnam War.
Documented and Illustrated in: About the Framing: |
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Biography of Jasper Johns
Jasper Johns (1930 - )
Jasper Johns has for nearly three decades played a central role in contemporary American art, producing paintings, drawings, and prints of exceptional stature. Having achieved a commanding position as a painter in the tumultuous New York art scene of the late 1950s, Johns began to work in lithography at Tatyana Grosman's Universal Limited Art Editions in 1960. The resulting prints demonstrated for the first time in this medium the vitality of the new American art. For Johns, printmaking has continued to be an important part of his total creative output-as it was for such other major modern artists as Munch and Pablo Picasso. There is little question that he has contributed more, qualitatively, than any living artist to the printed form of art. Castelman, "Jasper Johns: A Print Retrospective," The Museum of Modern Art, New York, 1986.
