Allan D'Arcangelo (1930-1998)was an American artist and printmaker, best known for his paintings of highways and road signs that border on pop art and minimalism, precisionism and hard-edge painting, and also surrealism. His subject matter is distinctly American and evokes, at times, a cautious outlook on the future of this country.
Often depicted from the driver’s perspective, D’Arcangelo’s paintings incorporate simplified, flat color planes and fragmented geometric forms, superimposing cropped road signs, forms resembling broken glass, and vague highway imagery over two-dimensional, endlessly rolling landscapes. D’Arcangelo always maintained a strong fascination with industrial imagery and scenery, and is considered one of the earliest American Pop artists.
It has been said that D'Arcangelo "has the ability to defy, yet document, spatial relationships at the same time." The recipient of fifteen awards and commissions, D'Arcangelo has had frequent one-man shows, many of which traveled to prominent museums throughout America. His work appears in more than thirty public collections, including those of the Museum of Modern Art, the Guggenheim Museum, and the Brooklyn Museum in New York, the Detroit Institute of Art, and the Walker Art Center in Minneapolis.
His reputation as a Pop artist was established by his first New York one-man exhibition in 1963 where he showed his first acrylic paintings of the American highway and industrial landscape. Such large-scale canvases visually transported the viewer through a time sequence, as if traveling along a highway, catching glimpses of trees, dividing lines, signs and route markers. In subsequent works D’Arcangelo continued to examine the American landscape both as directly experienced and in the form of generalized contemporary symbols. An essentially flat and impersonal style allowed him to suggest an illusionistic space without sacrificing the viewer’s consciousness of the picture plane.
© 2018. All images are copyrighted © by Allan D'Arcangelo/D’Arcangelo Family Partnership/Licensed by VAGA, New York, NY. The use of any image from this site is prohibited unless prior written permission from the artist is obtained.
Often depicted from the driver’s perspective, D’Arcangelo’s paintings incorporate simplified, flat color planes and fragmented geometric forms, superimposing cropped road signs, forms resembling broken glass, and vague highway imagery over two-dimensional, endlessly rolling landscapes. D’Arcangelo always maintained a strong fascination with industrial imagery and scenery, and is considered one of the earliest American Pop artists.
It has been said that D'Arcangelo "has the ability to defy, yet document, spatial relationships at the same time." The recipient of fifteen awards and commissions, D'Arcangelo has had frequent one-man shows, many of which traveled to prominent museums throughout America. His work appears in more than thirty public collections, including those of the Museum of Modern Art, the Guggenheim Museum, and the Brooklyn Museum in New York, the Detroit Institute of Art, and the Walker Art Center in Minneapolis.
His reputation as a Pop artist was established by his first New York one-man exhibition in 1963 where he showed his first acrylic paintings of the American highway and industrial landscape. Such large-scale canvases visually transported the viewer through a time sequence, as if traveling along a highway, catching glimpses of trees, dividing lines, signs and route markers. In subsequent works D’Arcangelo continued to examine the American landscape both as directly experienced and in the form of generalized contemporary symbols. An essentially flat and impersonal style allowed him to suggest an illusionistic space without sacrificing the viewer’s consciousness of the picture plane.
© 2018. All images are copyrighted © by Allan D'Arcangelo/D’Arcangelo Family Partnership/Licensed by VAGA, New York, NY. The use of any image from this site is prohibited unless prior written permission from the artist is obtained.
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| Mr Allan D’Arcangelo |
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| 1962, American Madonna no.1 |
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| 1962, Head Gasket #2 |
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| 1962, Marilyn |
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| 1962, My Uncle Whiskey's Bad Habit |
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| 1963, Here and Now |
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| 1963, Madonna and Child |
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| 1963, Smoke Dream #1 |
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| 1963, Smoke Dream #2 |
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| 1963, The Rheingold Girls, |
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| 1964, 4 squares |
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| 1964, Untitled no.77 |
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| 1964, White Highway |
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| 1964-65, Overpass |
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| 1965, Double Overpass |
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| 1965, Highway |
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| 1965, Paris Review |
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| 1966, proposition-25 |
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| 1967, Danger |
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| 1967, Dipped |
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| 1967, Landscape |
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| 1967, Landscape |
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| 1968, Abstract |
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| 1968, Abstraction |
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| 1968, Landscape "Y" |
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| 1968, Landscape bars #4 |
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| 1968, Landscape BB (74) |
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| 1968, Landscape, |
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| 1968, Landscape, |
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| 1968, untitled |
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| 1969, April |
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| 1969, June moon 1963 |
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| 1969, Landscape I |
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| 1969, Untitled |
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| 1970, Peace |
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| 1970, Untitled |
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| 1971, Constellation I |
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| 1971, Constellation II |
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| 1971, Constellation III |
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| 1971, Constellation IV |
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| 1972, Olympic Games Poster Munich |
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| 1973, Alignment |
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| 1973, Ohne Titel |
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| 1973, Watertower 2 |
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| 1973, Watertower |
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| 1974-82, Without Sound |
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| 1975, Pegasus Landscape |
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| 1976-77, Pike |
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| 1977, The Holy Family |
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| 1978, Resonance |
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| 1978, US Highway #1 |
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| 1979, Bridge |
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| 1979, Caves |
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| 1979, Web |
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| 1980, Smoke Dreams |
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| The Wedding |
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