Hubbry Logo
Three FlagsThree FlagsMain
Open search
Three Flags
Community hub
Three Flags
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Three Flags
Three Flags
Three Flags
View on Wikipedia
from Wikipedia

Three Flags
ArtistJasper Johns
Year1958
TypeEncaustic on canvas
Dimensions77.8 cm × 115.6 cm (30+7⁄8 in × 45+1⁄2 in)
LocationWhitney Museum of American Art, New York

Three Flags is a painting by American artist Jasper Johns, from 1958. Held in the permanent collection of the Whitney Museum of American Art in New York since 1980, Three Flags has been described as a "landmark of 20th-century art".[1]

History and description

[edit]

The work comprises three canvases painted with hot wax. The three canvases form a tiered arrangement, with each canvas approximately 25% smaller than the one below, thereby creating a three-dimensional work. Each canvas is painted to resemble the version of the United States flag that was in use at the time the work was painted, with 48 white stars in a blue canton on a field of thirteen alternating red and white stripes. Each flag is rendered with the approximately correct colors and proportions, as defined by Title 4 of the United States Code.

In a sense, the perspective is reversed, with the smaller paintings projecting out towards the viewer. Only the topmost smallest painting is fully visible; the two behind are only partially visible.[2]

Provenance

[edit]

The painting was acquired by the Whitney Museum of American Art in New York City for $1 million in 1980 from art collectors Burton and Emily Hall Tremaine, to celebrate its 50th anniversary.[3] Since the early 1960s, Three Flags has been included in numerous exhibitions, and different kinds of books and magazine articles focused on art and American history.[4]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Three Flags

View on Grokipedia
from Grokipedia
Three Flags is a 1958 painting by American artist , consisting of three overlapping images of the American flag rendered in encaustic on canvas, with each successive flag reduced in scale by approximately 25% and projecting forward to challenge traditional perspective. The work measures 30 5/8 × 45 1/2 × 4 5/8 inches (77.8 × 115.6 × 11.7 cm) and is held in the permanent collection of the of American Art in New York, acquired in 1980 through funds from multiple donors including the Gilman Foundation. Johns began incorporating the American flag as a motif in his paintings in 1954, inspired by a dream in which he envisioned creating such an image, marking a departure from toward the use of everyday symbols to explore the boundaries between representation and abstraction. In Three Flags, the encaustic medium—pigment mixed with heated wax—creates a richly textured, sculptural surface that draws attention to the flag's formal qualities, such as its patterns and brushstrokes, rather than its patriotic symbolism. Johns himself described the composition as allowing him to “go beyond the limits of the flag, and to have different canvas space,” emphasizing its innovative spatial dynamics. The painting is one of Johns' signature flag series, which established him as a key figure in mid-20th-century American art, influencing and conceptual movements by prompting viewers to reevaluate familiar icons through a lens of perceptual ambiguity.

Overview

Description

Three Flags is a painting by American artist , consisting of three overlapping canvases depicting the American flag in a format. The work measures 30 5/8 × 45 1/2 inches (77.8 × 115.6 cm) overall, with a thickness of 4 5/8 inches (11.7 cm) due to the layered construction. The three flags are rendered in progressively diminishing sizes, with each subsequent flag approximately 75% the scale of the one beneath it, creating an illusion of receding depth while simultaneously projecting forward through physical buildup. The medium is encaustic and newspaper collage on canvas, where pigmented wax is applied hot and layered to form a textured, sculptural surface that emphasizes the flags' materiality. Each flag precisely replicates the U.S. ensign of 1958, featuring 48 white stars arranged in alternating rows of six on a blue field, alongside thirteen red and white stripes, all in traditional red, white, and blue tones. Newspaper fragments are collaged into the encaustic, adding subtle texture and visible imprints that enhance the work's tactile quality without altering the flag's iconic form. This layered composition challenges the flatness inherent to , as the forward-protruding elements—achieved through the wax's dimensional accumulation—blur the boundaries between two- and . The result is a visually dense arrangement where the largest forms the base, partially obscured by the middle and smallest flags atop it, inviting close inspection to discern the intricate details of stars, stripes, and collaged underlayers.

Creation

In 1954, experienced a dream in which he envisioned himself painting the , serving as the catalyst for his initial exploration of the motif in works like Flag (1954–55). This inspiration came one year after his discharge from the U.S. Army in 1953, where he had served from 1951 to 1953, including a posting in , , during which his exposure to military symbols likely heightened his awareness of the as a ubiquitous emblem. Seeking to move away from the gestural abstraction dominant in , Johns deliberately chose subjects like the —describing them as "things the mind already knows"—to challenge viewers' preconceptions and emphasize perception over invention. By 1958, Johns had developed this theme further, completing Three Flags in his studio at 128 Front Street in , a space he shared in proximity with during this period. The painting emerged as one of his large-scale flag works from that year, produced alongside smaller studies and drawings that tested variations on the composition. In creating , Johns innovated by layering three progressively smaller flags—each reduced by approximately 25% in scale—directly atop one another on separate canvases, allowing the format to physically embody themes of repetition and spatial ambiguity specific to this piece. This structure, built up to a depth of nearly five inches, transformed the flat icon into a sculptural object, reflecting Johns' intent to expand beyond traditional pictorial limits.

Artistic Context

Johns' Flag Series

Jasper Johns began his Flag series in 1954, producing his inaugural painting of the American and establishing it as a central motif in his practice. Throughout the and , the series expanded to encompass over 40 works, including paintings, prints, drawings, and sculptures that explored the in diverse scales—from small studies to monumental canvases—media, and orientations, reflecting Johns's sustained interrogation of familiar imagery. Prominent examples from the series include the foundational (1954–55), an encaustic, oil, and work on fabric mounted to at the , which captures the flag's stripes and stars in a textured, near-life-size format. (1955), housed at the , presents a bleached, monochromatic iteration that subverts the emblem's traditional vibrancy. The motif extended sculpturally in 1960 with editions of the flag, such as the version at the , marking a three-dimensional departure. (1958), a at the Whitney Museum of American Art, comprises three stacked panels in diminishing scales, amplifying the flag's repetitive structure across 30 5/8 × 45 1/2 inches (77.8 × 115.6 cm). The series evolved from initial treatments that replicated the flag's design with direct fidelity, using techniques like encaustic to highlight material tactility, toward more experimental variations in the late and early . These included color inversions, as in or complementary schemes that estranged the familiar palette; fragmentation, breaking the form into disjointed elements; and thickened encaustic layering, which embedded collaged newsprint and built up surfaces to disrupt optical unity and emphasize process. Central to the Flag series was Johns's conceptualization of the motif as a painted "readymade," echoing Marcel Duchamp's elevation of ordinary objects to art while adapting it to American cultural symbols, thereby questioning the flag's representational role without overt symbolism.

Techniques and Materials

primarily employed encaustic as the medium for Three Flags (1958), a technique involving pigments suspended in heated , which he applied using brushes and knives to achieve varied effects and a sculptural texture. This ancient method, revived by Johns, allowed the wax to congeal rapidly upon cooling, preserving the fluidity of his strokes while creating a luminous, layered surface that emphasizes the physicality of . In Three Flags, encaustic is combined with for certain areas and integrated with newspaper elements, where fragments of newsprint are embedded beneath the wax layers to add subtle texture and a sense of ephemerality, evoking the passage of time through translucent overlays. The process began with Johns layering hot wax mixed with pigments over collaged newspaper on supports, building up the composition through multiple applications that hardened into a dense, tactile buildup. Rather than using stencils for precision, Johns painted the motifs from memory and photographic references, introducing deliberate imperfections in the stars and stripes that highlight the hand of the artist and disrupt mechanical reproduction. This approach contrasts with more uniform techniques, underscoring Johns' focus on the act of painting itself. For Three Flags specifically, he constructed the work from three separate , each depicting a progressively smaller version of the American —reduced proportionally by approximately 25%—which were then joined and stacked to form a multi-panel structure projecting outward in space. These methods marked an evolution in Johns' flag series, transitioning from the relatively flat encaustic surfaces of earlier works like Flag (1954–55) to more three-dimensional constructions in pieces such as Three Flags, where the joined panels and wax buildup blur the boundaries between painting and object. This innovative material exploration influenced subsequent Pop Art practices by prioritizing everyday motifs through experimental media, encouraging artists to treat commercial imagery with sculptural depth and process-oriented mark-making.

Significance and Reception

Critical Analysis

Three Flags (1958) presents the American as an ambiguous icon, simultaneously evoking and a sense of detachment that invites viewers to question its symbolic potency. Art historian Fred Orton describes Johns' paintings as operating "in the space of difference... neither positive nor negative, but both," underscoring their undecidability as either or abstract composition. This extends to themes of and , where the work's encaustic medium— mixed with warm —creates a textured surface that embeds layers of newsprint, suggesting historical and personal recollections beneath the 's familiar form. The blurs the boundary between image and object, as curator Alan R. Solomon queried of Johns' flags: "Is it a or a ?" prompting an examination of how symbols function both representationally and materially. In art historical context, Three Flags serves as a pivotal bridge between the emotional abstraction of and the incorporation of quotidian imagery in . Johns' treatment of the as a readymade motif challenges the gestural spontaneity of predecessors like while prefiguring Andy Warhol's serial reproductions of consumer icons, emphasizing the 's status as an everyday yet loaded symbol. This transitional role aligns with Leo Steinberg's theory of the "flatbed picture plane," where the canvas functions less as a window into illusionistic depth and more as a horizontal surface akin to a bed, allowing the incorporation of real-world information and textures—evident in the overlapping s' tactile, layered construction that rejects vertical orientation toward the viewer. Post-World War II nationalism further contextualizes the work, as the 's depiction amid tensions reframes patriotic fervor as a site of cultural reevaluation rather than unexamined allegiance. Key critiques highlight the painting's formal innovations and socio-political implications. , in his advocacy for modernist opticality, praised Johns' flags for their emphasis on pure visual experience, where the work's surface demands focused, absorptive viewing detached from theatrical or literal associations. Debates on , particularly in the era, frame the flags as enacting American hegemony through a balance of and consent, as Anne M. Wagner argues, revealing the "fatal power and persuasiveness of Americanism" in shaping identity amid global dominance. The form of Three Flags offers unique interpretations, metaphorically layering historical narratives while creating an illusion of depth within a fundamentally flat medium. The three canvases, each diminishing by approximately 25% in scale and stacked to project forward, defy traditional perspective, transforming the flags into a receding yet protruding structure that symbolizes temporal accumulation—past, present, and future iterations of national identity overlaid on the picture plane. This configuration, as noted by the , shifts emphasis from the 's emblematic to its geometric and textural properties, fostering a perceptual tension between surface flatness and implied volume. Within Johns' broader flag series, this amplifies the motif's exploratory potential through multiplication.

Cultural Impact

Three Flags played a pivotal role in the development of , serving as a bridge between and the movement's embrace of everyday imagery. By recontextualizing the American flag as a layered, encaustic composition, Johns inspired contemporaries like and to incorporate banal symbols into , challenging traditional notions of originality and abstraction. This work became an emblem of 1960s American identity, its repetitive flags evoking both national pride and ambivalence during the era, when the symbol's meaning shifted amid anti-war protests and cultural upheaval. The has permeated popular media through reproductions, including posters, lithographs, and merchandise such as T-shirts, making its image widely accessible beyond walls. Its market significance was underscored in when the acquired it for $1 million—a record for a living at the time—highlighting its status as a of postwar American art. As a flagship piece in the Whitney's collection, fosters public engagement with themes of , prompting discussions on national symbols in contemporary contexts, including post-9/11 reflections on flag-waving rituals. It has been parodied in media, notably in a 1999 Simpsons episode where Johns guest-voiced as himself, satirizing his flag motifs amid Homer's "" escapades. The work also influenced U.S. flag debates, as its artistic manipulation of the flag echoed protests against laws restricting symbolic expression, from Vietnam-era dissent to later constitutional challenges. The painting's enduring impact was reaffirmed in the 2021-2022 retrospective Jasper Johns: Mind/Mirror at the of American Art and the Philadelphia Museum of Art, which featured Three Flags and explored its role in ongoing dialogues about perception, symbolism, and American identity.

Provenance and Exhibitions

Ownership History

"Three Flags," created by in 1958, was initially acquired by collectors Burton G. Tremaine Sr. and in 1959 for $900 from the Gallery. The Tremaines, renowned for their extensive collection of 20th-century emphasizing post-1945 works, integrated the painting into their holdings, which included significant pieces by emerging American artists. During their ownership, "Three Flags" was loaned to various exhibitions, showcasing its prominence in institutional displays prior to its permanent placement. In 1980, the Tremaines sold "Three Flags" to the of American Art through the for $1 million, establishing a record price for a work by a living artist at the time and signaling a pivotal escalation in valuations for contemporary American art. The acquisition, funded by donors including the Gilman Foundation and to commemorate the museum's 50th anniversary, marked the painting's entry into the Whitney's permanent collection as accession number 80.32. Since then, it has remained in the Whitney's custody without further transfers, underscoring its status as a cornerstone of their holdings in postwar American art.

Notable Displays

Three Flags debuted at Jasper Johns's first solo exhibition, held at the Gallery in New York from January 31 to February 28, 1958. The work was soon recognized as a pivotal piece in Johns's early career and was included in subsequent international showcases representing American art, such as the United States Pavilion at the 32nd from June 20 to October 18, 1964. It also appeared at the 9th São Paulo Biennial in 1967, further highlighting its role in U.S. during the era. The painting gained prominence through major retrospectives dedicated to Johns's oeuvre. It was featured in the comprehensive exhibition at the of American Art from October 17, 1977, to January 22, 1978, which surveyed over 200 works from 1955 to 1976. Similarly, Three Flags was loaned from the Whitney for the landmark : A Retrospective at the in New York from October 20, 1996, to January 21, 1997, before touring to the in and the Museum of Contemporary Art in through 1997. Three Flags has remained a cornerstone of the of American Art's permanent collection since its 1980 acquisition for a record $1 million from collectors Burton and Emily Hall Tremaine, and has been frequently displayed there. It was temporarily loaned to in for Jasper Johns: "Something Resembling Truth" from February 10 to May 13, 2018, and prominently displayed in the Whitney's Jasper Johns: Mind/Mirror retrospective from September 29, 2021, to February 13, 2022. These displays underscore the work's enduring curatorial significance, with occasional conservation assessments conducted in preparation for such presentations.

References

  1. https://whitney.org/collection/works/1060
  2. https://www.moma.org/documents/moma_catalogue_1816_300001136.pdf
  3. https://www.guggenheim.org/artwork/artist/jasper-johns
  4. https://www.nyclgbtsites.org/site/jasper-johns-residence-studio/
  5. https://www.theartstory.org/artist/johns-jasper/
  6. https://brooklynrail.org/2007/02/art/jasper-johns/
  7. https://www.artnet.com/auctions/artists/jasper-johns/flag-moratorium-16
  8. https://www.moma.org/collection/works/78805
  9. https://www.metmuseum.org/art/collection/search/487065
  10. https://www.artic.edu/artworks/136994/flag
  11. https://www.artmuseumgr.org/exhibitions/an-art-of-changes-jasper-johns-prints-1960-2018
  12. https://www.castelligallery.com/blog/jasper-johnss-optics
  13. https://aaep1600.osu.edu/book/07_Johns.php
  14. https://www.moma.org/momaorg/shared/pdfs/docs/learn/courses/Johns_2008.pdf
  15. https://smarthistory.org/jasper-johns-flag/
  16. https://www.myartbroker.com/artist-jasper-johns/articles/jasper-johns-techniques
  17. https://www.ebsco.com/research-starters/arts-and-entertainment/jasper-johns-paints-american-flag
  18. https://www.singulart.com/blog/en/2020/04/10/three-flags-1958-the-story-of-japser-johns-iconic-piece/
  19. https://www.artforum.com/features/according-to-what-jasper-johnss-flag-174549/
  20. https://web.mit.edu/allanmc/www/othercriteria.pdf
  21. https://monoskop.org/images/8/8f/Fried_Michael_Art_and_Objecthood_Essays_and_Reviews_1998.pdf
  22. https://nonsite.org/a-house-divided-american-art-since-1955/
  23. https://www.latimes.com/entertainment/arts/la-et-cm-jasper-johns-20180207-htmlstory.html
  24. https://www.amazon.com/Three-Flags-Poster-Jasper-Johns/dp/B0000DF6UP
  25. https://www.nytimes.com/1980/09/27/archives/painting-by-jasper-johns-sold-for-million-a-record-the-whitney-buys.html
  26. http://www.simpsonsarchive.com/episodes/AABF15.txt
  27. https://www.haberarts.com/3flags.htm
  28. https://press.philamuseum.org/in-fall-2020-a-lifetime-retrospective-dedicated-to-jasper-johns-will-be-presented-simultaneously-in-new-york-and-philadelphia/
  29. https://www.tremainefoundation.org/history.html
  30. https://www.tremainefoundation.org/tc-johns-three-flags.html
  31. https://www.newyorkartworld.com/commentary/JasperJohnsThreeFlags.html
  32. https://www.artdesigncafe.com/jasper-johns-three-flags-1958-eht2
  33. https://www.moma.org/calendar/exhibitions/296
  34. https://whitney.org/exhibitions/jasper-johns
Add your contribution
Related Hubs
User Avatar
No comments yet.