La Sheer (1968) – Allen Jones (1937)

La Sheer (1968) – Allen Jones (1937)

Some cool precision machining organization images:

La Sheer (1968) – Allen Jones (1937)

Image by pedrosimoes7
Belem, Berardo Collection, Centro Cultural de Belem, Lisbon, Portugal

Components : Oil on canvas


Allen Jones, along with David Hockney, Peter Phillips and R. B. Kitaj, belongs to the ‘second generation’ of British Pop. From 1955 to 1960 he studied in London at the Hornsey College of Art, then at the Royal College of Art, and from 1961 to 1963 he taught lithography at the Croydon College of Arts. Allen Jones lived in the United States for a year in 1964.

Like Mel Ramos with his Pinup Girlies (the Berardo Collection has a Virnaburger, from 1965), Jones pushed the stereotypes recognized as ‘masculine’ to the maximum. In this painting, using an ingenious optical illusion, the female figure is lowered to a pair of legs, and wears stiletto heels with exaggerated dimensions.

Jones acquired a certain notoriety for his Chair, Table and Hat Stand series (1969) in which girls are transformed into furnishings. Allen Jones collaborated in the film Maîtresse, made by Barbet Schroeder in 1976. The sculptures in the ‘Korova Milk Bar’ in STANLEY KUBRICK’S FILM A CLOCKWORK ORANGE are primarily based on his perform. J-FC – See a lot more at:


From Wikipedia, the free of charge encyclopaedia


&quotFor my generation any person who wanted to reduce the mustard had to reckon with Abstract Expressionism…. I’ve never wanted to show the struggle involved in the producing of the operate, and to make it part of the painting the way it is with Pollock or de Kooning. That is just not me constitutionally I couldn’t abandon the figure. But I had to find a new way of performing it. Abstract Expressionism had swept almost everything away. You couldn’t go back to representing the figure by way of some moribund visual language.&quot

— Allen Jones in a 2014 interview

Jones was born in the English city of Southampton on 1 September 1937. The son of a Welsh factory worker, he was raised in the west London district of Ealing, and in his youth attended Ealing County Grammar College for Boys.

Jones had an interest in art from an early age. In 1955, he began studying painting and lithography at Hornsey College of Art in London, exactly where he would graduate in 1959. At the time the teaching approach at Hornsey was based on Paul Klee’s Pedagogical Sketchbook from the 1930s. While a student at Hornsey, Jones travelled to Paris and the French area of Provence, and was particularly influenced by the art of Robert Delaunay.

He also attended a Jackson Pollock show at the Whitechapel Gallery in 1958, and according to Jones, &quotfor me it was outdoors any identified frame of reference. The scale, the ambition, the freedom. I felt like suing my teachers for not telling me what was taking place in the globe.&quot He afterwards travelled to see the Musie Fernand Léger in the French commune of Biot, and in 1959 he left Hornsey to begin attending the Royal College of Art.

As 1 of the very first British pop artists, Jones created increasingly unique paintings and prints in the late 1950s and early 1960s, and in distinct enjoyed combining various visual languages to expose the historical constructions underlying them.

According to Jones, about his early ambitions, &quotI wanted to kick more than the traces of what was regarded as acceptable in art. I wanted to locate a new language for representation… to get away from the notion that figurative art was romantic, that it wasn’t difficult.&quot He was element of a unique generation of students at the Royal College, amongst which his fellow students were R. B. Kitaj, Peter Phillips, David Hockney, and Derek Boshier, but was expelled from the Royal College of Art in 1960, at the end of his very first year.

Explained by Mark Hudson in The Telegraph many years later, &quothorrified at the new developments brewing amongst their younger students, the college’s academic old guard decided to make an example of someone. They chose Jones.&quot Dismayed, Jones signed up for a teacher training course and returned to his research at Hornsey College of Art in 1960, graduating the following year.

ART Profession


In spite of his expulsion from the Royal College, in January 1961 Jones’ operate was included in the Young Contemporaries 1961 exhibit. The annual Royal Society of British Artists exhibition was described in the press as &quotthe exhibition that launched British pop art,&quot Young Contemporaries helped expose England to the art of Jones, David Hockney, R. B. Kitaj, Billy Apple, Derek Boshier, Joe Tilson, Patrick Caulfield, and Peter Blake, all of whom have been variously influenced by American Pop.

Among his works, Jones entered numerous paintings of London buses on shaped canvases, which have been afterwards put on display at the London West End gallery Arthur Tooth &amp Sons. 1 of the gallery’s directors then introduced Jones to the function of American pop artists such as Andy Warhol, Roy Lichtenstein and Claes Oldenburg, which proved inspirational to Jones.

In 1961, he took a job teaching lithography at Croydon College of Art in London, where he would remain until 1963. Around this time, Jones was influenced by the works of writers such as Friedrich Nietzsche, Sigmund Freud, and Carl Jung.

According to Jones, his 1963 painting Hermaphrodite, depicting &quotfused male/female couples as metaphors of the inventive act,&quot draws from each Freud and Nietzsche. In 1963, Jones was awarded the Prix des Jeunes Artistes at the Paris Biennale.

The following year, Jones and other Nouveau réalisme and pop artists such as Peter Phillips and Pauline Boty had been featured in documentaries by Belgian director Jean Antoine, Evelyne Axell’s husband.


&quot[In New York City Jones] found a scene dominated by the suggestions of the influential critic Clement Greenberg: that the essence of painting lay in the flatness of the canvas, in hard edges, in the painting as object. Jones wanted to create a new kind of art that conformed to those principles… but which retained the human figure. He discovered the imagery that would allow him to do that in the seedy bookshops of Occasions Square.&quot
— Mark Hudson

Intrigued by the &quottoughness&quot of American pop art, Jones moved to Manhattan in 1964 and took a studio at the Chelsea Hotel. In New York City, Jones recollects finding out to &quotpresent what you were saying as clearly as feasible,&quot and he developed an interest in producing his photos tangible. For the year Jones remained in the city, he &quotdiscovered a rich fund of imagery in sexually motivated well-liked illustration of the 1940s and 1950s.&quot According to Jones, about his art of the time:

Fetishism and the transgressive globe produced photos that I liked due to the fact they were hazardous. They were about private obsessions. They stood outside the accepted canons of artistic expression and they recommended new approaches of depicting the figure that weren’t dressed up for public consumption.&quot

Amongst other projects at the time, Jones &quotworked on a 3-dimensional illusionism with clear erotic components.&quotWhen Jones’ close buddy Peter Phillips came to New York on a Harkness Fellowship in 1964, for two years they spent considerably of their time travelling together throughout the United States.Jones’ style continued to create, and his 1966 painting Excellent Match &quotmade explicit [his] previously subdued eroticism, adopting a precise linear style as a means of emphasizing tactility.&quot

In 1967, Jones’ operate along with the operates of artists such as Piero Gilardi and David Hockney were included in an exhibition for the wedding of Guglielmo Achille Cavellini’s daughter. The following year, when the xartcollection exhibition series was developed in Zürich, Switzerland, Jones and artists such as Max Bill, Getulio Alviani, and Richard Hamilton had been among the initial to be integrated in the company’s &quotmultiples.&quot Until it dissolved a couple of years later, the company’s philosophy was to make contemporary art offered to a large public by industrially creating three-dimensional &quotmultiples,&quot with a number of artists’ work incorporated on every single.

Jones was a guest lecturer at the Hochschule für bildende Künste Hamburg in Germany from 1968 to 1970, and in 1969 was also a visiting professor at the University of South Florida. His 1968 set of prints, Life Class, was amongst his very first functions to incorporate components of sculpture.

Every single PRINT IS Made OF TWO HALVES, THE BOTTOM Getting A REALISTIC PAIR OF WOMEN’S LEGS IN TIGHTS, Whilst THE UPPER HALVES ARE DRAWN IN A 1940S FETISHIST GRAPHIC STYLE REPRESENTING &quotTHE SECRET FACE OF BRITISH MALE Desire IN THE GLOOMY POST-WAR YEARS.&quot About his further experimentation with sculpture, Jones has stated that &quotI spent so a lot time providing my figures that grabbable quality, I thought, why never I make them in 3 dimensions?&quot

&quotWhen I looked at what other avant-garde artists have been undertaking with the figure there was always a kind of prop, some thing that let the viewer off the hook, that told them ‘this is a perform of art’. I wanted to make a figure that was devoid of these props. There was an thought I’d seen in an adult comic strip exactly where a individual was used as a table, and that set off a whole host of resonances.&quot
— Allen Jones

While living in the London neighbourhood of Chelsea in the late 1960s, Jones began functioning in sculpture. His fibreglass sculpture Chair, which was completed in 1969, marked the begin of a series of &quotlife-size images of women as furnishings with fetishist and sado-masochist overtones.&quot

The 1st three sculptures had been each and every sculpted from Jones’ drawings, with Jones overseeing professional sculptor as he produced the figures in clay. The 3 female figures had been then cast in plaster by a company that specialised in producing shop mannequins. Each of the original three figures was created in an edition of six.


Jones first group of erotic fibreglass sculptures, of a Hatstand, Table and Chair gained international interest when exhibited in 1970. The works were met with robust protests for perceived misogyny, which succeeded in producing Jones a &quotcultural hot potato&quot.

Laura Mulvey writing for Spare Rib magazine suggested the sculptures was inspired by latent castration anxiousness. Almost a decade later, when they have been place on show at the Institute of Contemporary Arts in 1978, they had been attacked with stink bombs.

Eight years later, on International Women’s Day, Chair was damaged by paint stripper whilst exhibited at the Tate.

According to art historian and curator, Marco Livingstone, writing in 2004: &quotMore than 3 decades later, these performs still carry a strong emotive charge, ensnaring each and every viewer’s psychology and sexual outlook regardless of age, gender or expertise.&quot

The serious reaction from the art planet, feminists, and the mainstream press soon after the sculptures’ debut would limit Jones’ exhibition profession in England more than the subsequent several decades. When asked about their effect on his profession, Jones was quoted stating &quotit’s collateral damage. I wanted to offend the canons of accepted worth in art. I discovered the ideal image to do that, and it is an accident of history that these operates coincided with the arrival of militant feminism.&quot

Roman Polanski, Elton John and Gunter Sachs all owned a piece at a single stage, with a single of the sets selling at auction in 2012 for £2.six million. The sculptures have also been referenced in Stanley Kubrick’s 1971 film A Clockwork Orange.


Jones, photographer Brian Duffy, and air brush specialist Philip Castle were commissioned to collaborate on the annual and usually salacious Pirelli calendar in 1973, resulting in a unique edition that Clive James would later jokingly get in touch with &quotthe only Pirelli Calendar that nobody bothered to look at twice&quot.

In 1973, Jones spent time as a guest lecturer at the University of California, Los Angeles, and soon after going to Japan in 1974, the following year he toured Canada. Jones designed Barbet Schroeder’s 1975 film Maîtresse. Starring Bulle Ogier as the skilled dominatrix Ariane and Gérard Depardieu as her obsessed lover, the film provoked controversy in the United Kingdom because of its graphic depictions of sado-masochism.

By the mid 1970s, he was once more focusing on canvas and painting, and among his notable functions at this time had been Santa Monica Shores in 1977. Now at the Tate, the work was painted while he was a guest lecturer at the University of California, Los Angeles in 1977, and later that summer season he was a visiting director of studies in drawing and painting in Alberta, Canada, at the Banff Center College of Fine Arts. Known for only very sometimes taking on commissions, Jones was commissioned to design and style a hoarding for Fogal, a hosiery manufacturer, at Basel station in 1978.

The Walker Art Gallery in Liverpool held a large retrospective exhibition on his function in 1979, and the exhibit later travelled to the Serpentine Gallery in London. Continuing to travel, he was invited by the Berlin University of the Arts to be a guest professor from 1982 to 1983.[three] By that time, he had largely returned to &quota playful stylisation in figure sculptures,&quot which includes The Tango in 1984, a life-size dancing couple produced from steel plate.[four] In 1986, his work was incorporated in the Venice Biennale’s Art e Scienza exhibition, alongside artists such as Brian Eno and Tony Cragg,[citation needed] and that year he was elected as a Royal Academician by the Royal Academy.[17] Opened in 1987, Birch and Conran was the first art gallery in Soho, and their inaugural show featured British Pop artists such as Jones, Sir Peter Blake, Richard Hamilton, and Clive Barker.[citation required] From 1990 to 1999, he served as a trustee at the British Museum, and in 2000 became an Emeritus Trustee.[18]

He has functions held by the Cass Sculpture Foundation. A single of which, the outdoor sculpture Temple from 1998, was a response to the artifice of cultivated landscape… Jones sought to make a sculpture which utilized that artifice to distort scale and distance and to manipulate our perception of space. Jones’s interest derived from eighteenth-century landscape architects, who did this when introducing decorative buildings and follies into their schemes.

Also, with the figure at top of the structure Jones makes use of &quotcolour to introduce the notion of movement in the figure, with the alternate arms of yellow and green in diagonally opposing positions.&quot


Sculpture by Jones at Georgsplatz Hanover in Germany.
Jones continued his artistic activity into the 2000s, and amongst other projects he incorporated leatherwork by Whitaker Malem.

In recent years, Jones has increasingly grow to be identified for his huge steel sculptures, a lot of of which are abstract in nature and feature intertwining figures. A number of them have been displayed in an outdoor exhibit in Might 2015 at the Art in the Park occasion held by Lake Zurich. His function is also incorporated in a quantity of public and private art collections Three OF HIS PAINTINGS ARE IN THE COLLECTION OF THE CENTRO DE ARTE MODERNA OF THE GULBENKIAN FOUNDATION IN LISBON, and he has pieces in the Ingram Collection of Contemporary British Art.

In 2007, he was awarded an honorary Doctorate of Arts from Southampton Solent University. He has had solo exhibitions at the Wetterling Teo Gallery in Stockholm and the Serge Sorokko Gallery.

His performs featured in the Pop Art Portraits show at the National Portrait Gallery in London, and had a committed room of watercolours, drawing and paintings at the Tate Britain. In 2008, he was given a dedicated watercolour area at the Royal Academy of Arts. In April 2013, his perform was included in a main exhibition at the National Museum of Wales in Cardiff, titled Pop and Abstract, alongside function by artists like Peter Blake and Bridget Riley. A parody of Jones Chair sculpture was portion of a collection exhibited below the name Allen Jones Remake at the Venus Over Manhattan Gallery in New York in 2013. An example of Jones’ 1969 Chair sculpture (as effectively as more than fifty other functions) remains at the Tate, which was acquired in 2014. In November 2014, a retrospective on Jones opened at the Royal Academy of Arts, operating until January 2015 in London.


Associated with the British Pop art movement of the late 1960s, Jones is recognized for his perform with lithography, painting, drawing, and sculpture.

The Cass Sculpture Foundation wrote about Jones’ perform that &quoton a flat canvas, painted forms seem sculptural and his three-dimensional functions are painterly. He uses colour to describe type, at times with graphic precision, or conversely with an power and freedom of gesture which is close to direct expression. Equivalent developments are evident in his printmaking.&quot
The Tate has described his output in lithography as &quotprolific,&quot writing that it &quotproved an appropriate medium for his graphic flair.&quot Artists and pop fashion designers such as Alexander McQueen, Issey Miyake and Richard Nicoll have cited Jones as an influence on their own types.

Jones is recognized for incorporating erotic imagery into his performs, such as rubber fetishism and BDSM, and this sexuality has usually been a focus of both art critics and the press.

Mark Hudson wrote in 2014 that Jones’ &quotsubjects have integrated musicians, dancers and London buses, but in the popular perception his name is irrevocably linked to his peerlessly kinky fetish girls, regardless of whether in two or three dimensions, with their machined surfaces and blank expressions – photos that are as emblematic of classic British pop art as Peter Blake’s Beatles paintings or Hockney’s swimming pools.&quot

In a evaluation on Jones’ profession, Richard Dorment wrote in November 2014 that &quotyou could argue that Jones’s operate isn’t really about females it is about guys and how they appear at and consider about girls. Men use a variety of methods to neutralise or manage wish. 1 is to fetishise the female body…[although] another is for the man to suitable it.&quot

Dorment additional explains himself by writing that turn to Jones’s paintings, and you see that he explores the theme of guys transformed into ladies once again and once again. A man dancing with a lady becomes inextricably fused into her physique yet another trades trousers and brogues for stockings and heels, as he walks from one edge of the canvas to the other…

Dorment further opines that &quotthe paintings… show males and women in sexual conditions, but they are joyous and liberated and self-indulgent in a way that the lugubrious mannequins aren’t.&quot Wrote Catrin Davies for Twin Factory in November 2014 about the show,

Jones’ paintings give a small counterbalance to the implied misogyny of his sculptures. In these colourfully kitsch scenes he paints about energy-play with cross-dressing inferences, of the dominate female, the submissive male, of the animalistic rituals of mating and the delicate interplay of coupling represented in the type of dance.

Steven F. Udvar-Hazy Center: South hangar panorama, such as Vought OS2U-three Kingfisher seaplane & B-29 Enola Gay, amongst other people

Image by Chris Devers
Quoting Smithsonian National Air and Space Museum | Vought OS2U-three Kingfisher:

The Kingfisher was the U.S. Navy’s major ship-primarily based, scout and observation aircraft for the duration of Planet War II. Revolutionary spot welding strategies gave it a smooth, non-buckling fuselage structure. Deflector plate flaps that hung from the wing’s trailing edge and spoiler-augmented ailerons functioned like extra flaps to enable slower landing speeds. Most OS2Us operated in the Pacific, where they rescued a lot of downed airmen, such as Globe War I ace Eddie Rickenbacker and the crew of his B-17 Flying Fortress.

In March 1942, this airplane was assigned to the battleship USS Indiana. It later underwent a six-month overhaul in California, returned to Pearl Harbor, and rejoined the Indiana in March 1944. Lt. j.g. Rollin M. Batten Jr. was awarded the Navy Cross for producing a daring rescue in this airplane below heavy enemy fire on July four, 1944.

Transferred from the United States Navy.

Vought-Sikorsky Aircraft Division


Country of Origin:
United States of America

Overall: 15ft 1 1/8in. x 33ft 9 1/2in., 4122.6lb., 36ft 1 1/16in. (460 x 1030cm, 1870kg, 1100cm)

Wings covered with fabric aft of the main spar

Physical Description:
Two-seat monoplane, deflector plate flaps hung from the trailing edge of the wing, ailerons drooped at low airspeeds to function like added flaps, spoilers.

• • • • •

Quoting Smithsonian National Air and Space Museum | Boeing B-29 Superfortress &quotEnola Gay&quot:

Boeing’s B-29 Superfortress was the most sophisticated propeller-driven bomber of Planet War II and the first bomber to house its crew in pressurized compartments. Though made to fight in the European theater, the B-29 found its niche on the other side of the globe. In the Pacific, B-29s delivered a assortment of aerial weapons: standard bombs, incendiary bombs, mines, and two nuclear weapons.

On August six, 1945, this Martin-constructed B-29-45-MO dropped the initial atomic weapon used in combat on Hiroshima, Japan. Three days later, Bockscar (on show at the U.S. Air Force Museum close to Dayton, Ohio) dropped a second atomic bomb on Nagasaki, Japan. Enola Gay flew as the advance climate reconnaissance aircraft that day. A third B-29, The Great Artiste, flew as an observation aircraft on both missions.

Transferred from the United States Air Force.

Boeing Aircraft Co.
Martin Co., Omaha, Nebr.


Nation of Origin:
United States of America

Overall: 900 x 3020cm, 32580kg, 4300cm (29ft six five/16in. x 99ft 1in., 71825.9lb., 141ft 15/16in.)

Polished all round aluminum finish

Physical Description:
4-engine heavy bomber with semi-monoqoque fuselage and higher-aspect ratio wings. Polished aluminum finish all round, regular late-World War II Army Air Forces insignia on wings and aft fuselage and serial quantity on vertical fin 509th Composite Group markings painted in black &quotEnola Gay&quot in black, block letters on decrease left nose.