Sculptor Eduardo Paolozzi's collage work combining surrealism with elements of popular culture and technology led him to be credited as the inventor of Pop Art.
In the late 1940s, Paolozzi spent time in Paris, France, shadowing such surrealist artists as Jean Dubuffet and Alberto Giacometti. During this time, Paolozzi started making sculptures and collages that uniquely combined the influences of surrealism with elements of popular culture and contemporary machinery. A collection of Paolozzi's collages, comprised of clippings he pulled from magazines American soldiers had given him in Paris, were later displayed in a slideshow at the Institute of Contemporary Arts in 1952. To many, the slideshow designated Paolozzi as the "inventor of Pop Art."
In the late 1940s, Paolozzi spent time in Paris, France, shadowing such surrealist artists as Jean Dubuffet and Alberto Giacometti. During this time, Paolozzi started making sculptures and collages that uniquely combined the influences of surrealism with elements of popular culture and contemporary machinery. A collection of Paolozzi's collages, comprised of clippings he pulled from magazines American soldiers had given him in Paris, were later displayed in a slideshow at the Institute of Contemporary Arts in 1952. To many, the slideshow designated Paolozzi as the "inventor of Pop Art."
In 1949, Paolozzi started teaching at the London's Central School of Art and Design. He retained the position until 1955, after which he displayed his bronze cast sculptures in the "This is Tomorrow" exhibit at the White Chapel Art Gallery. During this period, Paolozzi's primary focus was the suffering human form.
Throughout his career as an artist, Paolozzi would teach at a number of art institutions, including his alma mater, St. Martin's School of Art
Throughout his career as an artist, Paolozzi would teach at a number of art institutions, including his alma mater, St. Martin's School of Art
In the 1960s, Paolozzi further incorporated the theme of modern machinery into his art, through collaboration with industry engineering companies—which provided him with materials, equipment and workspace. Aluminum became Paolozzi's new material of choice, as he littered his work with discarded machine parts. Fused together through drilling, bolting and welding, the sum total of the parts produced ground-breaking artwork with sharp geometric edges that still managed to be suggestive of the human form. Through his industrial art, Paolozzi made a social statement about man's role in the age of technology.
Paolozzi spent much of the 1970s working on abstract art, including screen printing and reliefs. His color schemes were largely monochromatic during this time—a major departure from his previous, colorful work. One formidable product of this stage in Paolozzi's career was a commission of panels for the ceiling of Cleish Castle in Kinross-shire, Scotland.(.biography.com)
Paolozzi spent much of the 1970s working on abstract art, including screen printing and reliefs. His color schemes were largely monochromatic during this time—a major departure from his previous, colorful work. One formidable product of this stage in Paolozzi's career was a commission of panels for the ceiling of Cleish Castle in Kinross-shire, Scotland.(.biography.com)
