US Highway 1, Number 3 (Primary Title)

Allan D'Arcangelo, American, 1930 - 1998 (Artist)

acrylic on canvas
United States
Unframed: 69 1/2 × 81 in. (176.53 × 205.74 cm)
Framed: 71 × 82 1/4 in. (180.34 × 208.92 cm)
Other (exhibition frame): 73 × 84 × 3 in. (185.42 × 213.36 × 7.62 cm)
The American landscape is D'Arcangelo's subject matter here, as though glimpsed from a speeding car. Two monumental, isolated signs loom against the background as the highway recedes sharply into the distance. D'Arcangelo first exhibited this seriesin New York in the early 1960s, at the same time his fellow artists took other icons of everyday life as their subjects and used the clean lines and flat colors of commercial printing to make their images both familiar and new - a trend soon called Pop Art.
not signed
Gift of Sydney and Frances Lewis
Allan D'Arcangelo Retrospettiva, Plazzina dei Giardini, Modena, Italy, January 23 - March 28, 2005

Motion as Metaphor: The Automobile in Art, Virginia Beach Center for the Arts, Virginia Beach, VA, April 13 – June 16, 1991

Selections from the Sydney & Frances Lewis Collection of the VMFA, Delaware Art Museum, Wilmington, DE, March 29 – May 10, 1987

Automobile and Culture, Los Angeles County Museum, Los Angeles, CA, July 21, 1984 – January 6, 1985

Autoscape: The Automobile in the American Landscape, Whitney Museum of American Art, Stamford, CT, March 30 - May 30, 1984

Allan D'Arcangelo, Institute of Contemporary Art, Virginia Museum of Fine Arts, Richmond, VA, May 8 – July 2, 1979

Allan D'Arcangelo: Paintings 1963 - 1970, Institute of Contemporary Art, University of Pennsylvania, PA, 1971
Cameron, Dan. Allan D’Arcangelo: Paintings 1962-1982. New York: Mitchell-Innes & Nash, 2009. (Pp. 3-4).
Ravenal, John B. Modern and Contemporary Art at the Virginia Museum of Fine Arts. Richmond: Virginia Museum of Fine Arts, 2007. (Pp. 24-25).

Brett, Guy and Roger Benjamin. Juan Davilla. Sydney: Museum of Contemporary Art, 2006. (No. 37, p. 38).

Guedaguim, Walter. Allan D’Arcangelo: Retrospective. Milan: Silvana Editoriale, 2005. Exhibition catalogue.

Obituaries. The New York Times, December 23, 1998. (P. C-23).

Elements of Literature: 5th course. Austin: Holt, Rinehart and Winston, 2000. (P. 1060).

Umland, Anne. Pop Art: Selections from The Museum of Modern Art. New York, Museum of Modern Art, 1998. Exhibition catalogue. (Pp. 26-27).

Elements of Literature. New York: Holt, Rinehart & Winston, 1997. (P. 1060).

Scott, Sue. Motion as Metaphor: The Automobile in Art. Virginia Beach: Virginia Beach Center of the Arts, 1992. Exhibition catalogue. (P. 50, back cover).

Sales prospectus: Elements of Literature. New York: Holt, Rinehart and Winston, 1988. (Pp. 8-9).

Guillen, Michael. "No End in Sight." The Sciences (September/October 1987): 54-59.

"Artmobile Art." American Illustrated (May 1986): 31-33. (P. 32). [Russian edition, published for distribution in the Soviet Union by the US Information Agency.]

Filler, Martin. "A Very Generous Vision." House and Garden (May 1986): 182-191, 243-246. (P. 190).

Brandt, Frederick R. Late 20th Century Art. Richmond: Virginia Museum of Fine Arts, 1985. (No. 20, p. 44-45).

Domus 655 (November 1984). (P. 87).

Vogue (October 1984). (P. 355).

Silk, Gerald. Automobile and Culture. New York: Harry N. Abrams, 1984. (P. 140).

Allan D'Arcangelo. Richmond: Virginia Museum of Fine Arts, 1979. (P. 10).

Modern and Contemporary Paintings, Drawings, and Sculpture, March 24, 1977. New York: Sotheby Parke Bernet, 1977. Auction catalogue. (No. 134).

Allan D'Arcangelo: Paintings 1963-1970. Philadelphia: Institute of Contemporary Art, 1971. (Np).
Collection of Kimiko and John Powers, New York. (Southeby Parke-Bernet, New York) by 1977; Purchased by Mr. and Mrs. Sydney and Frances Lewis, Richmond, Virginia in March of 1977; Gift to Virginia Museum of Fine Arts (VMFA), Richmond, Virginia in December of 1985.
©artist or artist’s estate

Some object records are not complete and do not reflect VMFA's full and current knowledge. VMFA makes routine updates as records are reviewed and enhanced.