About the artwork

This print comes after Paolozzi's long exploration of mechanistic form through the Kelpra Studio. He has allowed American Pop art to loosen his earnestness. The image is, while appreciative of Pop developments, sly in its criticism, with Warhol, Lichtenstein, and Johns all receiving jabs, along with the collective weight of the elephantine American dominance over Britain, where Pop may truly be said to have begun, with Paolozzi, Hamilton, and others. A version of the design appeared on the cover of "Studio International" (v. 182, no. 937, Oct. 1971). - from the Harvard Art Museum collection.

Year: 1971

Unframed size: 76cm x 55.5cm

Detailed Condition: Excellent condition

Signature: Signed and numbered in pencil: “Eduardo Paolozzi, 1971, 423/1000”

Framing: Museum-grade frame, 99% UV-resistant glass to help protect the colours and the paper (not pictured)

Mounting: Conservation-mounted using acid-free Japanese wheat-starch paste and Japanese paper

Delivery: Collect from the shop or contact Cal to arrange specialist art handlers

About the artist

Eduardo Paolozzi (1924 – 2005) was a prolific and inventive Scottish artist most known for his marriage of Surrealism's early principles with brave new elements of popular culture, modern machinery and technology. He was raised in the shadows of World War II in a family deeply affected by the divisive nature of a country involved in conflict, which birthed his lifelong exploration into the many ways humans are influenced by external, uncontrollable forces. This exploration would come to inform a vast and various body of work that vacillated between the darker and lighter consequences of society's advancements and its so-called progress. His collages reflect the way contemporary culture and mass media influenced individual identity. Some of these, with their appropriation of American advertising's look and feel would inspire the future Pop art movement.