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Pop art is a type of art in which everyday things (such comic strips, soup cans, road signs, and hamburgers) are utilized as subject matter and are frequently physically included into the piece.

The Pop art movement was primarily a British and American cultural phenomena of the late 1950s and early 1960s, and was called by art critic Lawrence Alloway in reference to the painting and sculpture’s simple iconography. Pop artists like Roy Lichtenstein, Andy Warhol, Claes Oldenburg, Tom Wesselman, James Rosenquist, and Robert Indiana, as well as David Hockney and Peter Blake from the United Kingdom, were known for portraying any and all parts of popular culture that had a significant effect on current life.

Their iconography, which was derived from television, comic books, movie magazines, and all forms of advertising, was presented emphatically and objectively, without praise or condemnation but with overwhelming immediacy, and through the precise commercial techniques employed by the media from which the iconography was derived.

After the supremacy of very personal Abstract Expressionism in both the United States and Europe, Pop art was an attempt to revert to a more objective, generally accepted style of art. It was also iconoclastic, opposing the past’s “high art” domination as well as the pretensions of other current avant-garde art. Pop art became a cultural event as a result of its intimate representation of a certain social context and the mass media’s quick adoption of its easily understandable imagery.

Although detractors regarded Pop art as vulgar, spectacular, non-aesthetic, and a joke, its proponents (a small but vocal group in the art world) viewed it as a democratic and non-discriminatory form of art that brought together connoisseurs and unskilled spectators.

In their works, most Pop artists aimed to an impersonal, urbane attitude. Some Pop art, like Oldenburg’s drooping items and Warhol’s repetitive repeats of the same basic image, are discreetly socially critical, while others, like Segal’s enigmatic, lonely tableaux, are unabashedly expressionistic.

American Pop art tended to be iconic, nameless, and confrontational; English Pop art, on the other hand, was more subjective and referential, expressing a romantic perspective of Pop culture, maybe influenced by England’s geographic distance from it. Technology and popular culture were largely dealt with by English Pop musicians as topics, even metaphors; nevertheless, some American Pop artists seemed to live these concepts. For example, Warhol’s slogan was “I believe everyone should be a machine,” and he attempted to create works that a machine would have created.

Pop art has gained critical acclaim as a type of art that is well adapted to Western countries’ highly technical, mass-media-oriented societies. Although it was first dismissed by the public, by the end of the twentieth century it had established itself as one of the most well-known art trends.

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