By Nadia Rowbotham

Biography

1932 Born 25th June, Dartford, Kent

1946-51 Attended Gravesend Technical College and School of art

1951-53 National service in the R.A.F

1953-56 Royal College of Art, London – First Class Diploma

1956-57 Leverhulme Research Award to study popular art.

1960-64 Taught at several Schools of Art including St Martin’s, Harrow and Walthamstow.

1963 Married Jann Haworth

1964-76 Taught at Royal College of Art , London

1975 Founding member of The Brotherhood of Ruralists with Jann Haworth, Ann and Graham Arnold, David Inshaw, and

Annie and Graham Ovenden.

1994-96 Third associate Artist of the National Gallery, London

2002 Received Knighthood. Became professor of Drawing at the Royal Academy Schools.

Blake’s Early Work

Blake's early work is dominated by two major subjects: fantastic scenes from the world of the circus and naturalistic paintings with autobiographic elements.

Circus characters and children reading comic books are among the artist's typical motifs.

In style and content both types of pictures paved the way for English Pop Art.

Leverhulme scholarship

Thanks to a Leverhulme scholarship, Blake had the opportunity to travel through Europe from 1956 to 1957, where he acquainted himself with the artistic trends of the time.

In 1959, inspired by reproductions by Robert Rauschenberg and Jasper Johns, Blake began to paint collage-like pictures of pop musicians and film stars and to produce assemblages made of recycled material, postcards and other items.

Brotherhood of Ruralists

In 1975 Blake was one of the founding members of the 'Brotherhood of Ruralists'.

His imagery changed under the influence of this group of artists and his rural surroundings in Wellow on Avon.

Just like the pre-Raffaelites, they strove for an aesthetic permeation of all parts of life.

Childhood memories, fairy tales and elves, depicted in realistic style using techniques of the old masters, became his favourite

subjects.

Collage

Blake’s most recent work has taken the form of collage, inspired by his work in 1959 where he produce assemblages made of recycled material, postcards and other items.

Most of his collages are made up of collected items and images, creating memories of holidays or trips.

Influential Artists – Robert Rauschenberg

Blake was inspired by reproductions by both Robert Rauschenberg and Jasper Johns.

Robert Rauschenberg

was an American artist who came to prominence

in the 1950s .

Rauschenberg

Blake

You can clearly see the influence Rauschenberg had on Blake as he began to paint collage-like pictures of pop musicians and film stars.

Jasper Johns

is an American contemporary artist who works primarily in painting and printmaking.

You can see very clearly that Johns has influenced Blake’s art work.

Influential Artists - Jasper Johns

Blake

Johns

Pop art is mainly made up of painting, photo-montage, screen printing, soap screening and collage.It originated in the late 1950’s and lasted for about 2 decades, although some artists still use that style today. It is both American and British based and focuses on the huge growth of consumerism after the Second World War. The artists tend to be making a social comment on this consumerism. (Influenced by Friend, 2006)

Pop Art

Blake sits firmly within the Pop Art movement and many sources say that his work paved the way for pop art, ‘Blake was

the pioneer of Pop Art’ (Chamot 1964).

Andy WarholPeter Blake Roy Lichtenstein

Abstract Expressionism

Began around 1946

Abstract Expressionism was an American post–World War II art

movement.

It was an important predecessor is surrealism, with its emphasis on spontaneous, automatic or subconscious creation.

The bold colours introduced in this period can be clearly seen in the later pop art movement.

Postmodernism

Throughout 1970’s

Postmodernism was thought to be in contradiction to some aspect of modernism, or to have emerged or developed in its aftermath.

Its traits include collage, simplification, appropriation, depiction of consumer or popular culture and Performance art.

Jackson Pollock

Alan Davie Barbara Kruger

Julian Schnabel

Began around 1952

Pop Art in the classroom

For pupils to have a solid understanding of Pop Art, they need to see as many examples of it as possible and learn how they came to be created. Many artists use different processes and techniques and it is important to know how they were made and the reasons behind them.

As with any art movement they should be allowed to study closely the work of select artists, creating reproductions where suitable before they can be inspired to create their own piece in the same style.

Make It Pop! Activities and Adventures in Pop Art. By Joyce Raimondo

Although this book does not contain any work by Peter Blake, it does provide valuable information about the Pop Art Movement. It also contains the work of Blake’s inspirational artists.

Pop art will teach children about the use of colour as the movement is well known for its brash use of bright block colours and contrasts.

Sgt. Pepper Album cover 1967

Initial sketches for the album cover

Original Beatles Cover was reworked to pay homage to Liverpool 2003

Beatles Album Cover

Both the original collage and the reworked version are ideal to use with children. They can relate to at least some of the people features in the Liverpool collage.

The initial sketch shows children how Blake began his thinking for the final piece.

KS1

•Simplistic version

•Created through paint

•Includes all class members (portrait)

•Collage on display board once portraits are completed

Resources – paint, paper, mirrors, display board

KS2

•Digitally created

•Members of the school

•Photo collage using Photoshop

Resources – digital cameras, computers with Photoshop

This work is ideal for using with children as it provides the use of block colours and complementary colours.

The Fine Art Bit  1959

The Fine Art Bit

Enamel, wood relief and collage

Here the boldly-coloured stripes relate to everyday images such as flags, packaging and signage. The ‘Fine Art’ images at the top are in style contrast to the block colours.

KS1

•Research complementary colours.

•Make a line drawing of all the straight lines

•Fill in the spaces with complementary colours.

Resources – paint (ideally acrylic), paint brushes, pencils, rulers, paper or board to work on.

KS2

•Allow to explore complementary colours as KS1

•Find complementary colours within environment

•Create a piece involving a collage of these colours.

Resources – paint, paint brushes, paper, collage material, (camera?)

As well as painting, children could print the blocks of colour, using monoprint or block print.

Collage in the Classroom

Mixing art and imagination! Collage and assemblage art are compositions of various elements (such as paper, wood, fabric, feathers, leaves, and other found objects) fixed with an adhesive glue or paint.

All of Blake’s work has an element of collage. It is important to allow children to explore and understand collage before creating a final piece.

Peter Blake: About Collage By Natalie Rudd

There is a child friendly version of this book that is called:Make Your Own Collage with Peter Blake By Natalie Rudd

The book explains how to create collages and what to consider when making. This is a really useful resource for both children and teachers.

Collage teaches children about composition and texture.

Activity

With the person next to you, discuss what you think the piece of work could be about from what you can see in the snippet

above.

This picture is about memories of Paris.

By revealing only a small section of the image to begin with will promote thinking and imagination of what the image could be depicting.

Memories of a Place – Paris

Textured collage made up found objects while in a particular place. Blake’s choice of items is critical along with the composition.

Memories of a Place – Paris 2005

KS1

•Select collage items from a variety provided

•Concentrate on composition

•Arrange but don’t stick

•Photograph

Resources – collage items, digital cameraKS2

•Bring in a selection of small items that remind them of somewhere or something

•Disregard items that don’t work

•Concentrate on composition

•Fix to board once happy

Resources – collage items, glue, board

There are numerous other ‘Memories of a Place’ collages.

‘The Museum of the Colour White’ 1995

The Museum of the Colour White

Textured collage made up of objects within the colour of white. The objects vary in size, purpose, etc. but have their colour in common. It’s purpose was to explore feelings behind the colour.

This piece colour encourage children to identify variations of the same colour, and identify the difference between certain colours, for example – is turquoise blue or green?

KS1

•Sort objects around the classroom into colour groups

•Discuss why

•Create a mind map of how colours make you feel

Resources – Hoops, objects, paper and pen/IWB KS2

•Each child chooses a colour of their choice

•Gather scraps of fabrics in their chosen colour way

•Create either a cut and stick collage of fabrics or a stitched textile piece depending on ability of children

•Discuss feelings associated with colour

Resources – fabric, scissors and glue, or needle and thread

Jen Mick Textile Collage - Colour

The Toy Shop 1962

The Toy Shop

Mixed media collage of childhood memories.

This image was suggested for use in the QCA scheme of work – Unit 5 – Objects and meanings, as an example of ‘symbolic composition’.

This piece can therefore teach children about composition, as they can view the detail that is within each window and how it has been arranged.

KS2

•Children create a composition of objects they have an emotional attachment to

•Draw or paint these objects within their composition

•Pictures should take note of the 3D quality on objects

Resources – objects, paper, (pencils/paint and paint brushes)

KS1

•In groups arrange a composition of toys

•Photograph

•Piece images together to create a shop window

•This work could lead on from or up to collections work on toys

Resources – toys, digital camera, printer, display board

Art Across the Curriculum

Art should be accessible across the curriculum, making its way into almost every subject. This is easy with the skills of drawing and painting, but becomes more difficult when trying to fit an art movement across the curriculum.

Peter Blake’s work could fit into the following subjects:

•DT – a lot of Blake’s collages are 3D and require some form of construction, this could take place in DT

•PSHE – some of Blake’s work links to feelings, this could be discussed.

•Literacy – children could write captions to go with the art work of could write a story behind it

•Maths – some of his art work contains straight lines, circles, shapes and children could experiment with these

•ICT – children could use cameras and computers to create work like Blake’s

•History – children could learn about the 60’s (dressing-up role play area would be perfect

•Geography – ‘Memories of a Place’ are based on a place so the children could research and learn about, Paris for example.

Bibliography

Blake, P. and Rudd, N. (2007) Make Your Own Collage with Peter Blake. London: Tate Publishing.

Chamot, M. et al. (1965) The Modern British Paintings, Drawings and Sculpture. London: Oldbourne

Mick, J. (2008) Jen Mick: Visual and Textile Artist. Available at: http://jenmick.com/ (Accessed: 22 April 2009).

Raimondo, J. (2006) Make It Pop! Activities and Adventures in Pop Art. New York: Watson-Guptill Publications Inc.

Rudd, N. (2003) Peter Blake. London: Tate Publishing.

Waddington Galleries (2005) Peter Blake. London: Waddington Galleries.

Wroe, N. (2006) Peter Blake: The Bigger Picture. Available at: http://www.guardian.co.uk/artanddesign/2006/jan/21/art (Accessed: 16 January 2009).

All images sourced from:

Tate Collections (2009) Available at: http://www.tate.org.uk/collection/ (Accessed: 19 March 2009)