拍品专文
Lorsque Jasper Johns exposa pour la premire fois ses peintures intitulées " Flag " dans les années 1950, il fut critiqué pour offense au sentiment patriotique. Mais Johns insista, expliquant qu'il avait choisi cette image parce qu'elle était devenue impersonnelle - reconnue mais non plus réellement vue. Cette estampe fait partie d'une série de trois variations dans lesquelles chaque estampe est travaillée et transformée par l'utilisation de différentes méthodes lithographiques, illustrant l'exigence de Johns de " Prendre un objet. En faire quelque chose. En faire quelque chose d'autre ". (Johns, 1965, p.192). Dans le cas présent, le sujet est construit à partir de traits noirs très denses, qui obscurcissent presque entièrement le dessin original d'"étoiles et de rayures".
When Jasper John's first exhibited his Flag paintings in the 1950's, he was criticised for offending patriotic sentiment. But John's insisted that he chose the image because it had become impersonal recognised but no longer seen. This print is one of a series of three variations in which each print is altered through the use of various lithographic methods, illustrating John's prescription to 'Take an object. Do something to it. Do something else to it.' (Johns, 1965, p.192). In this case the subject is built up from dense black tusche strokes which almost entirely obscure the original schema of the 'Stars and Stripes'.
When Jasper John's first exhibited his Flag paintings in the 1950's, he was criticised for offending patriotic sentiment. But John's insisted that he chose the image because it had become impersonal recognised but no longer seen. This print is one of a series of three variations in which each print is altered through the use of various lithographic methods, illustrating John's prescription to 'Take an object. Do something to it. Do something else to it.' (Johns, 1965, p.192). In this case the subject is built up from dense black tusche strokes which almost entirely obscure the original schema of the 'Stars and Stripes'.