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At
the end of the 1950s Johns moved on from the
hard-edged style and representative imagery
that had won him immediate acclaim. He began
covering the pictorial field with aggressive
brush strokes and introduced a more layered
sense of space. In False Start (1959), he exploited
a discordance between actual colors and the
words that name them.
Johns's growing focus on process and craft received
an impetus from his initiation into printmaking
in 1960. He routinely painted in a new mode
while simultaneously producing graphic works
based on earlier motifs.
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