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These Show How the Artist Uses the Elements to Put Together a Work of Art

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20th-century American pop artist

Roy Lichtenstein
Roy Lichtenstein.jpg

Lichtenstein in 1967
Built-in

Roy Fox Lichtenstein


(1923-x-27)October 27, 1923

New York City, U.S.
Died September 29, 1997(1997-09-29) (anile 73)

New York City, U.S.
Educational activity Timothy Dwight School
Alma mater Ohio State Academy
Known for Painting, sculpture
Movement Pop art
Spouse(s)
  • Isabel Wilson (1949–1965; divorced; ii children inc. Mitchell)
  • Dorothy Herzka (m. 1968)
Patron(s) Gunter Sachs

Roy Fob Lichtenstein [1] (; October 27, 1923 – September 29, 1997) was an American popular artist. During the 1960s, forth with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new fine art movement. His work defined the premise of pop art through parody.[2] Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, oft in a tongue-in-cheek manner. His work was influenced by popular advertising and the comic book style. His artwork was considered to exist "confusing".[3] He described pop art every bit "not 'American' painting but actually industrial painting".[iv] His paintings were exhibited at the Leo Castelli Gallery in New York City.

Whaam! and Drowning Girl are generally regarded as Lichtenstein's nearly famous works.[v] [6] [7] Drowning Daughter, Whaam!, and Look Mickey are regarded equally his most influential works.[eight] His most expensive piece is Masterpiece, which was sold for $165 one thousand thousand in Jan 2017.[9]

Early years

Lichtenstein was built-in into an upper middle class High german-Jewish family unit in New York City.[one] [10] [xi] His father, Milton, was a real estate broker, his mother, Beatrice (Werner), a homemaker.[12] He was raised on New York Urban center'southward Upper Due west Side and attended public schoolhouse until the age of twelve. He and so attended New York's Dwight School, graduating from there in 1940. Lichtenstein kickoff became interested in art and design as a hobby, through school.[xiii] He was an avid jazz fan, often attending concerts at the Apollo Theater in Harlem.[xiii] He frequently drew portraits of the musicians playing their instruments.[13] In his last twelvemonth of loftier school, 1939, Lichtenstein enrolled in summer classes at the Art Students League of New York, where he worked nether the tutelage of Reginald Marsh.[xiv]

Career

Lichtenstein and then left New York to study at Ohio Country Academy, which offered studio courses and a degree in fine arts.[1] His studies were interrupted past a three-year stint in the Ground forces during and after World State of war 2 between 1943 and 1946.[ane] After being in training programs for languages, engineering, and pilot training, all of which were cancelled, he served as an orderly, draftsman, and creative person.[1]

Lichtenstein returned abode to visit his dying father and was discharged from the Army with eligibility for the G.I. Bill.[13] He returned to studies in Ohio under the supervision of ane of his teachers, Hoyt L. Sherman, who is widely regarded to have had a pregnant impact on his future work (Lichtenstein would later proper noun a new studio he funded at OSU every bit the Hoyt L. Sherman Studio Art Centre).[fifteen]

Lichtenstein entered the graduate program at Ohio State and was hired as an art instructor, a postal service he held on and off for the next ten years. In 1949 Lichtenstein received a Master of Fine Arts degree from Ohio Land University.

In 1951, Lichtenstein had his start solo exhibition at the Carlebach Gallery in New York.[1] [16] He moved to Cleveland in the same year, where he remained for six years, although he frequently traveled back to New York. During this fourth dimension he undertook jobs every bit varied every bit a draftsman to a window decorator in between periods of painting.[ane] His work at this time fluctuated betwixt Cubism and Expressionism.[thirteen] In 1954, his first son, David Hoyt Lichtenstein, at present a songwriter, was built-in. His second son, Mitchell Lichtenstein, was built-in in 1956.[17]

In 1957, he moved back to upstate New York and began teaching over again.[4] It was at this time that he adopted the Abstract Expressionism style, beingness a tardily catechumen to this style of painting.[18] Lichtenstein began didactics in upstate New York at the Land University of New York at Oswego in 1958. About this fourth dimension, he began to incorporate subconscious images of cartoon characters such as Mickey Mouse and Bugs Bunny into his abstract works.[19]

Ascension to prominence

In 1960, he started teaching at Rutgers University where he was heavily influenced past Allan Kaprow, who was also a teacher at the university. This environment helped reignite his interest in Proto-pop imagery.[one] In 1961, Lichtenstein began his first popular paintings using drawing images and techniques derived from the appearance of commercial press. This phase would keep to 1965, and included the utilise of advertising imagery suggesting consumerism and homemaking.[thirteen] His first work to feature the large-scale utilize of hard-edged figures and Ben-Day dots was Expect Mickey (1961, National Gallery of Fine art, Washington, D.C.).[20] This piece came from a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; "I bet yous can't pigment equally good as that, eh, Dad?"[21] In the same yr he produced six other works with recognizable characters from gum wrappers and cartoons.[nineteen]

In 1961, Leo Castelli started displaying Lichtenstein'south piece of work at his gallery in New York. Lichtenstein had his starting time ane-man show at the Castelli gallery in 1962; the entire collection was bought by influential collectors before the testify fifty-fifty opened.[ane] A group of paintings produced between 1961 and 1962 focused on solitary household objects such every bit sneakers, hot dogs, and golf balls.[22] In September 1963 he took a leave of absence from his teaching position at Douglass Higher at Rutgers.[23]

His works were inspired by comics featuring state of war and romantic stories "At that time," Lichtenstein after recounted, "I was interested in anything I could use as a bailiwick that was emotionally strong – ordinarily dear, state of war, or something that was highly charged and emotional field of study thing to be reverse to the removed and deliberate painting techniques".[24]

Menses of Lichtenstein's highest profile

It was at this fourth dimension that Lichtenstein began to find fame not just in America only worldwide. He moved back to New York to be at the center of the fine art scene and resigned from Rutgers University in 1964 to concentrate on his painting.[25] Lichtenstein used oil and Magna (early acrylic) paint in his best known works, such as Drowning Girl (1963), which was appropriated from the pb story in DC Comics' Secret Hearts No. 83. (Drowning Girl now hangs in the Museum of Modern Art, New York.[26]) Drowning Daughter also features thick outlines, bold colors and Ben-Day dots, as if created by photographic reproduction. Of his own work Lichtenstein would say that the Abstract Expressionists "put things down on the canvas and responded to what they had done, to the color positions and sizes. My fashion looks completely unlike, but the nature of putting down lines pretty much is the same; mine simply don't come up out looking calligraphic, like Pollock's or Kline'south."[27]

Rather than attempt to reproduce his subjects, Lichtenstein's work tackled the style in which the mass media portrays them. He would never take himself too seriously, withal, maxim: "I think my work is different from comic strips – but I wouldn't telephone call it transformation; I don't call up that whatever is meant by it is important to art."[28] When Lichtenstein's piece of work was kickoff exhibited, many art critics of the fourth dimension challenged its originality. His piece of work was harshly criticized equally vulgar and empty. The championship of a Life magazine article in 1964 asked, "Is He the Worst Artist in the U.Due south.?"[29] Lichtenstein responded to such claims by offering responses such as the post-obit: "The closer my work is to the original, the more threatening and critical the content. However, my piece of work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but information technology would exist hard to prove it by whatsoever rational line of argument."[30] He discussed experiencing this heavy criticism in an interview with Apr Bernard and Mimi Thompson in 1986. Suggesting that it was at times hard to be criticized, Lichtenstein said, "I don't doubt when I'm really painting, it'south the criticism that makes yous wonder, it does."[31]

His most celebrated image is arguably Whaam! (1963, Tate Modern, London[32]), ane of the earliest known examples of pop art, adapted from a comic-book panel drawn by Irv Novick in a 1962 issue of DC Comics' All-American Men of War.[33] The painting depicts a fighter aircraft firing a rocket into an enemy plane, with a red-and-yellow explosion. The cartoon mode is heightened by the use of the onomatopoeic lettering "Whaam!" and the boxed caption "I pressed the fire control ... and ahead of me rockets blazed through the sky ..." This diptych is big in scale, measuring one.7 x 4.0 m (five ft 7 in x 13 ft four in).[32] Whaam follows the comic strip-based themes of some of his previous paintings and is role of a body of war-themed work created between 1962 and 1964. It is 1 of his ii notable large war-themed paintings. It was purchased past the Tate Gallery in 1966, after existence exhibited at the Leo Castelli Gallery in 1963, and (now at the Tate Modern) has remained in their collection always since. In 1968, the Darmstadt entrepreneur Karl Ströher acquired several major works by Lichtenstein, such equally Nurse (1964), Compositions I (1964), We rose up slowly (1964) and Yellow and Green Brushstrokes (1966). Later on beingness on loan at the Hessiches Landesmuseum Darmstadt for several years, the founding director of the Museum für Moderne Kunst Frankfurt, Peter Iden, was able to larn a full of 87 works[34] from the Ströher collection[35] in 1981, primarily American Pop Fine art and Minimal Art for the museum under construction until 1991.[36]

Lichtenstein began experimenting with sculpture around 1964, demonstrating a knack for the form that was at odds with the insistent flatness of his paintings. For Caput of Daughter (1964), and Head with Red Shadow (1965), he collaborated with a ceramicist who sculpted the form of the head out of clay. Lichtenstein and so applied a glaze to create the same sort of graphic motifs that he used in his paintings; the awarding of black lines and Ben-Twenty-four hours dots to three-dimensional objects resulted in a flattening of the form.[37]

Well-nigh of Lichtenstein's all-time-known works are relatively close, merely non exact, copies of comic book panels, a subject he largely abandoned in 1965, though he would occasionally incorporate comics into his work in different means in later decades. These panels were originally drawn by such comics artists as Jack Kirby and DC Comics artists Russ Heath, Tony Abruzzo, Irv Novick, and Jerry Grandenetti, who rarely received any credit. Jack Cowart, executive managing director of the Lichtenstein Foundation, contests the notion that Lichtenstein was a copyist, saying: "Roy's work was a wonderment of the graphic formulae and the codified of sentiment that had been worked out past others. The panels were changed in scale, colour, treatment, and in their implications. In that location is no exact copy."[38] Yet, some[39] accept been disquisitional of Lichtenstein's use of comic-volume imagery and art pieces, especially insofar every bit that use has been seen as endorsement of a patronizing view of comics by the art mainstream;[39] cartoonist Art Spiegelman commented that "Lichtenstein did no more than or less for comics than Andy Warhol did for soup."[39]

Lichtenstein's works based on enlarged panels from comic books engendered a widespread argue about their merits as fine art.[40] [41] Lichtenstein himself admitted, "I am nominally copying, just I am really restating the copied affair in other terms. In doing that, the original acquires a totally different texture. It isn't thick or thin brushstrokes, it'southward dots and flat colours and unyielding lines."[42] Eddie Campbell blogged that "Lichtenstein took a tiny picture, smaller than the palm of the mitt, printed in 4 color inks on newsprint and blew it up to the conventional size at which 'art' is made and exhibited and finished it in pigment on sail."[43] With regard to Lichtenstein, Pecker Griffith once said, "At that place'due south high art and there'southward depression art. And so there'south high fine art that tin take low fine art, bring information technology into a high art context, appropriate it and elevate information technology into something else."[44]

Although Lichtenstein'south comic-based work gained some acceptance, concerns are still expressed by critics who say Lichtenstein did not credit, pay any royalties to, or seek permission from the original artists or copyright holders.[45] [46] In an interview for a BBC Four documentary in 2013, Alastair Sooke asked the comic book creative person Dave Gibbons if he considered Lichtenstein a plagiarist. Gibbons replied: "I would say 'copycat'. In music for instance, yous can't just whistle somebody else's melody or perform somebody else's tune, no thing how badly, without somehow crediting and giving payment to the original artist. That's to say, this is 'WHAAM! by Roy Lichtenstein, later on Irv Novick'."[47] Sooke himself maintains that "Lichtenstein transformed Novick'due south artwork in a number of subtle but crucial ways."[48]

Journal founder, Urban center University London lecturer and University College London PhD, Ernesto Priego notes that Lichtenstein's failure to credit the original creators of his comic works was a reflection on the decision by National Periodical Publications, the predecessor of DC Comics, to omit any credit for their writers and artists:

Besides embodying the cultural prejudice against comic books as vehicles of art, examples like Lichtenstein'southward appropriation of the vocabulary of comics highlight the importance of taking publication format in consideration when defining comics, as well as the political economy implied by specific types of historical publications, in this case the American mainstream comic book. To what extent was National Periodical Publications (after DC) responsible for the rejection of the roles of Kanigher and Novick equally artists in their ain right by not granting them full authorial credit on the publication itself?"[49]

Furthermore, Campbell notes that at that place was a fourth dimension when comic artists often declined attribution for their work.[43]

In an account published in 1998, Novick said that he had met Lichtenstein in the army in 1947 and, as his superior officer, had responded to Lichtenstein'south tearful complaints near the menial tasks he was assigned by recommending him for a better job.[50] Jean-Paul Gabilliet has questioned this business relationship, proverb that Lichtenstein had left the army a year earlier the time Novick says the incident took identify.[51] Bart Beaty, noting that Lichtenstein had appropriated Novick for works such every bit Whaam! and Okay Hot-Shot, Okay!, says that Novick's story "seems to be an attempt to personally diminish" the more famous artist.[l]

In 1966, Lichtenstein moved on from his much-historic imagery of the early 1960s, and began his Modern Paintings series, including over lx paintings and accompanying drawings. Using his characteristic Ben-Day dots and geometric shapes and lines, he rendered incongruous, challenging images out of familiar architectural structures, patterns borrowed from Fine art Déco and other subtly evocative, often sequential, motifs.[52] The Modern Sculpture serial of 1967–8 made reference to motifs from Art Déco architecture.[53]

Afterwards piece of work

In the early 1960s, Lichtenstein reproduced masterpieces by Cézanne, Mondrian and Picasso before embarking on the Brushstrokes serial in 1965.[54] Lichtenstein continued to revisit this theme later in his career with works such as Bedroom at Arles that derived from Vincent van Gogh'due south Sleeping room in Arles.

In 1970, Lichtenstein was deputed by the Los Angeles County Museum of Art (within its Art and Applied science program developed between 1967 and 1971) to brand a film. With the aid of Universal Film Studios, the artist conceived of, and produced, 3 Landscapes, a film of marine landscapes, direct related to a serial of collages with landscape themes he created betwixt 1964 and 1966.[55] Although Lichtenstein had planned on producing 15 short films, the three-screen installation – made with New York-based contained filmmaker Joel Freedman – turned out to be the creative person's only venture into the medium.[56]

Also in 1970, Lichtenstein purchased a former wagon firm in Southampton, Long Island, built a studio on the belongings, and spent the rest of the 1970s in relative seclusion.[57] In the 1970s and 1980s, his fashion began to loosen and he expanded on what he had done earlier. Lichtenstein began a series of Mirrors paintings in 1969. Past 1970, while continuing on the Mirrors series, he started work on the subject area of entablatures. The Entablatures consisted of a first series of paintings from 1971 to 1972, followed by a second series in 1974–76, and the publication of a serial of relief prints in 1976.[58] He produced a series of "Artists Studios" which incorporated elements of his previous work. A notable example being Artist'due south Studio, Await Mickey (1973, Walker Fine art Center, Minneapolis) which incorporates five other previous works, fitted into the scene.[1]

During a trip to Los Angeles in 1978, Lichtenstein was fascinated by lawyer Robert Rifkind's collection of German Expressionist prints and illustrated books. He began to produce works that borrowed stylistic elements found in Expressionist paintings. The White Tree (1980) evokes lyric Der Blaue Reiter landscapes, while Dr. Waldmann (1980) recalls Otto Dix's Dr. Mayer-Hermann (1926). Small colored-pencil drawings were used as templates for woodcuts, a medium favored by Emil Nolde and Max Pechstein, equally well equally Dix and Ernst Ludwig Kirchner.[59] Also in the late 1970s, Lichtenstein's style was replaced with more surreal works such as Pow Wow (1979, Ludwig Forum für Internationale Kunst, Aachen). A major series of Surrealist-Pop paintings from 1979 to 1981 is based on Native American themes.[60] [61] These works range from Amerind Figure (1981), a stylized life-size sculpture reminiscent of a streamlined totem pole in black-patinated bronze, to the monumental wool tapestry Amerind Landscape (1979). The "Indian" works took their themes, like the other parts of the Surrealist series, from contemporary fine art and other sources, including books on American Indian design from Lichtenstein's small library.[62]

Lichtenstein's Nevertheless Life paintings, sculptures and drawings, which bridge from 1972 through the early 1980s, cover a variety of motifs and themes, including the most traditional such every bit fruit, flowers, and vases.[63] In 1983 Lichtenstein made ii anti-apartheid posters, just titled "Against Apartheid".[64] [65] In his Reflection serial, produced between 1988 and 1990, Lichtenstein reused his own motifs from previous works.[66] Interiors (1991–1992) is a series of works depicting bland domestic environments inspired by furniture ads the creative person institute in telephone books or on billboards.[67] Having garnered inspiration from the monochromatic prints of Edgar Degas featured in a 1994 exhibition at the Metropolitan Museum of Art in New York, the motifs of his Landscapes in the Chinese Style series are formed with simulated Benday dots and block contours, rendered in hard, bright color, with all traces of the hand removed.[68] The nude is a recurring element in Lichtenstein's work of the 1990s, such as in Collage for Nude with Red Shirt (1995).

In addition to paintings and sculptures, Lichtenstein also fabricated over 300 prints, mostly in screenprinting.[69]

Commissions

Group 5 Racing Version of BMW 320i, painted in 1977 by Roy Lichtenstein

In 1969, Lichtenstein was commissioned by Gunter Sachs to create Composition and Leda and the Swan, for the collector'southward Pop Art bedroom suite at the Palace Hotel in St. Moritz. In the belatedly 1970s and during the 1980s, Lichtenstein received major commissions for works in public places: the sculptures Lamp (1978) in St. Mary'due south, Georgia; Mermaid (1979) in Miami Beach; the 26 feet tall Brushstrokes in Flight (1984, moved in 1998) at Port Columbus International Airport; the 5-storey high Mural with Blueish Brushstroke (1984–85) at the Equitable Middle, New York; and El Cap de Barcelona (1992) in Barcelona.[53] In 1994, Lichtenstein created the 53-foot-long, enamel-on-metal Times Square Mural in Times Square subway station.[70] In 1977, he was commissioned by BMW to pigment a Group five Racing Version of the BMW 320i for the third installment in the BMW Art Machine Project. The DreamWorks Records logo was his last completed project.[one] "I'm not in the concern of doing annihilation like that (a corporate logo) and don't intend to do it again," allows Lichtenstein. "Simply I know Mo Ostin and David Geffen and it seemed interesting."[71]

Recognition

  • 1977 Skowhegan Medal for Painting, Skowhegan School, Skowhegan, Maine.
  • 1979 American Academy of Arts and Messages, New York.
  • 1989 American Academy in Rome, Rome, Italy. Creative person in residence.
  • 1991 Artistic Arts Award in Painting, Brandeis University, Waltham, Massachusetts.
  • 1993 Amici de Barcelona, from Mayor Pasqual Maragall, 50'Alcalde de Barcelona.
  • 1995 Kyoto Prize, Inamori Foundation, Kyoto, Nihon.
  • 1995 National Medal of the Arts, Washington D.C.

Lichtenstein received numerous Honorary Doctorate degrees from, among others, the George Washington University (1996), Bard Higher, Royal College of Fine art (1993), Ohio State Academy (1987), Southampton College (1980), and the California Establish of the Arts (1977). He besides served on the board of the Brooklyn Academy of Music.[57]

Personal life

In 1949, Lichtenstein married Isabel Wilson, who previously had been married to Ohio artist Michael Sarisky.[72] However, the roughshod upstate winters took a cost on Lichtenstein and his married woman,[73] later on he began education at the State University of New York at Oswego in 1958. The couple sold the family dwelling in Highland Park, New Jersey, in 1963[74] and divorced in 1965.

Lichtenstein married his second wife, Dorothy Herzka, in 1968.[75] In 1966, they rented a business firm in Southampton, New York that Larry Rivers had bought effectually the corner from his own house.[76] Three years afterwards, they bought a 1910 carriage house facing the ocean on Gin Lane.[76] From 1970 until his death, Lichtenstein separate his fourth dimension between Manhattan and Southampton.[77] He also had a habitation on Captiva Island.[78]

In 1991, Lichtenstein began an affair with vocalizer Erica Wexler who became the muse for his Nudes series including the 1994 "Nudes with Beach Brawl." She was 22 and he was 68.[79] The affair lasted until 1994 and was over when Wexler went to England with future husband Andy Partridge of XTC. Co-ordinate to Wexler, Lichtenstein and his wife Dorothy had an understanding and they both had pregnant others in addition to their marriage.

Lichtenstein died of pneumonia on September 29, 1997[21] at New York University Medical Center, where he had been hospitalized for several weeks, four weeks before his 74th birthday.[12] He was survived past his second wife, Dorothy Herzka,[80] and by his sons, David and Mitchell, from his get-go marriage.

Relevance

Pop art continues to influence the 21st century. Lichtenstein and Andy Warhol were used in U2's 1997, 1998 PopMart Bout and in an exhibition in 2007 at the British National Portrait Gallery.[ citation needed ]

Among many other works of art lost in the Earth Trade Eye attacks on September xi, 2001, a painting from Lichtenstein'due south The Entablature Series was destroyed in the subsequent fire.[81]

His work Crying Girl was ane of the artworks brought to life in Night at the Museum: Battle of the Smithsonian.[ citation needed ]

Exhibitions

In 1964, Lichtenstein became the beginning American to showroom at the Tate Gallery, London, on the occasion of the show "'54–'64: Painting and Sculpture of a Decade." In 1967, his starting time museum retrospective exhibition was held at the Pasadena Art Museum in California. The same twelvemonth, his get-go solo exhibition in Europe was held at museums in Amsterdam, London, Bern and Hannover.[72] Lichtenstein later participated in documentas Four (1968) and VI in (1977). Lichtenstein had his beginning retrospective at the Guggenheim Museum in 1969, organized by Diane Waldman. The Guggenheim presented a second Lichtenstein retrospective in 1994.[58] Lichtenstein became the outset living creative person to take a solo drawing exhibitions at the Museum of Modern Art from March – June 1987.[82] Recent retrospective surveys include the 2003 "All About Art," Louisiana Museum of Mod Art, in Denmark (which traveled on to the Hayward Gallery, London, Museo Reina Sofia, Madrid,[83] and the San Francisco Museum of Modern Art, until 2005); and "Classic of the New", Kunsthaus Bregenz (2005), "Roy Lichtenstein: Meditations on Art" Museo Triennale, Milan (2010, traveled to the Museum Ludwig, Cologne). In late 2010 The Morgan Library & Museum showed Roy Lichtenstein: The Black-and-White Drawings, 1961–1968.[84] Some other major retrospective opened at the Fine art Institute of Chicago in May 2012 before going to the National Gallery of Art in Washington,[85] Tate Modernistic in London, and the Centre Pompidou in Paris in 2013.[86] 2013:Roy Lichtenstein, Olyvia Fine Fine art. 2014: Roy Lichtenstein: Intimate Sculptures, The FLAG Art Foundation. Roy Lichtenstein: Opera Prima, Civic Gallery of Modern and Gimmicky Arts, Turin.[87] 2018: Exhibition at The Tate Liverpool, Merseyside, United Kingdom.

Collections

In 1996 the National Gallery of Art in Washington, D.C. became the largest unmarried repository of the artist'south piece of work when Lichtenstein donated 154 prints and 2 books. The Art Institute of Chicago has several important works past Lichtenstein in its permanent drove, including Brushstroke with Spatter (1966) and Mirror No. 3 (Six Panels) (1971). The personal holdings of Lichtenstein's widow, Dorothy Lichtenstein, and of the Roy Lichtenstein Foundation number in the hundreds.[88] In Europe, the Museum Ludwig in Cologne has one of the virtually comprehensive Lichtenstein holdings with Takka Takka (1962), Nurse (1964), Compositions I (1964), too the Frankfurt Museum für Moderne Kunst with We rose up slowly (1964) and Yellowish and Dark-green Brushstrokes (1966). Outside the United States and Europe, the National Gallery of Australia's Kenneth Tyler Collection has all-encompassing holdings of Lichtenstein's prints, numbering over 300 works. In total there are some four,500 works idea to be in circulation.[i]

Roy Lichtenstein Foundation

After the artist's death in 1997, the Roy Lichtenstein Foundation was established in 1999. In 2011, the foundation'south lath decided the benefits of authenticating were outweighed by the risks of protracted lawsuits.[89]

In tardily 2006, the foundation sent out a holiday menu featuring a picture of Electric Cord (1961), a painting that had been missing since 1970 after beingness sent out to fine art restorer Daniel Goldreyer past the Leo Castelli Gallery. The carte urged the public to written report whatever information about its whereabouts.[90] In 2012, the foundation authenticated the piece when it surfaced at a New York City warehouse.[91]

Between 2008 and 2012, following the death of photographer Harry Shunk in 2006,[92] the Lichtenstein Foundation acquired the collection of photographic fabric shot by Shunk and his János Kender too as the photographers' copyright.[93] In 2013, the foundation donated the Shunk-Kender trove to 5 institutions – Getty Inquiry Found in Los Angeles; the Museum of Modern Art in New York; the National Gallery of Fine art in Washington; the Centre Pompidou in Paris; and the Tate in London – that volition allow each museum admission to the others' share.[93]

Art market place

Since the 1950s Lichtenstein'due south work has been exhibited in New York and elsewhere with Leo Castelli at his gallery and at Castelli Graphics too as with Ileana Sonnabend in her gallery in Paris, and at the Ferus Gallery, Pace Gallery, Gagosian Gallery, Mitchell-Innes & Nash, Mary Boone, Brooke Alexander Gallery, Carlebach, Rosa Esman, Marilyn Pearl, James Goodman, John Heller, Blum Helman, Hirschl & Adler, Phyllis Kind, Getler Drape, Condon Riley, 65 Thompson Street, Holly Solomon, and Sperone Westwater Galleries among others. Leo Castelli Gallery represented Lichtenstein exclusively since 1962,[12] when a solo show past the artist sold out before information technology opened.[94]

Beginning in 1962, the Leo Castelli Gallery, New York, held regular exhibitions of the artist'south work.[95] Gagosian Gallery has been exhibiting work by Lichtenstein since 1996.[96]

Large Painting No. 6 (1965) became the highest priced Lichtenstein piece of work in 1970.[97] Like the unabridged Brushstrokes series, the subject of the painting is the procedure of Abstruse Expressionist painting via sweeping brushstrokes and drips, merely the result of Lichtenstein's simplification that uses a Ben-Day dots groundwork is a representation of the mechanical/industrial color printing reproduction.[98]

Lichtenstein's painting Torpedo ... Los! (1963) sold at Christie's for $5.v one thousand thousand in 1989, a record sum at the time, making him one of only three living artists to accept attracted such huge sums.[72] In 2005, In the Car was sold for a then record $16.2m (£10m).

In 2010, his cartoon-manner 1964 painting Ohhh...Alright..., previously endemic past Steve Martin and afterward by Steve Wynn,[99] was sold at a record The states$42.6m (£26.7m) at a sale at Christie's in New York.[100] [101]

Based on a 1961 William Overgard cartoon for a Steve Roper cartoon story,[102] Lichtenstein'southward I Can Meet the Whole Room...and There's Nobody in It! (1961) depicts a homo looking through a pigsty in a door. Information technology was sold by collector Courtney Auction Ross for $43 million, double its guess, at Christie's in New York City in 2011; the seller'due south hubby, Steve Ross had acquired information technology at auction in 1988 for $2.1 1000000.[103] The painting measures iv-foot by 4-foot and is in graphite and oil.[104]

The comic painting Sleeping Girl (1964) from the collection of Beatrice and Phillip Gersh established a new Lichtenstein record $44.viii 1000000 at Sotheby's in 2012.[105] [106]

In October 2012, his painting Electrical Cord (1962) was returned to Leo Castelli'southward widow Barbara Bertozzi Castelli, after having been missing for 42 years. Castelli had sent the painting to an art restorer for cleaning in January 1970, and never got it back. He died in 1999. In 2006, the Roy Lichtenstein Foundation published an image of the painting on its vacation greeting carte and asked the art community to assist observe information technology.[107] The painting was found in a New York warehouse, later having been displayed in Bogota, Colombia.[108]

In 2013, the painting Woman with Flowered Hat set another tape at $56.i 1000000 as it was purchased past British jeweller Laurence Graff from American investor Ronald O. Perelman.[109]

This was topped in 2015 by the sale of Nurse for 95.4 million dollars at a Christie's auction.[110]

In Jan 2017, Masterpiece was sold for $165 million. The proceeds of this sale will be used to create a fund for criminal justice reform.[9]

Roy Lichtenstein sales records
Work Appointment Price Source
Big Painting No. 6 November 1970 $75,000 [97]
Torpedo...Los! Nov 7, 1989 $five.5M [111] [112]
Kiss Two 1990 $vi.0M [112] [113]
Happy Tears November 2002 $7.1M [113] [114]
In the Car 2005 $16.2M [114] [115]
Ohhh...Alright... November 2010 $42.6M [100] [115]
I Can Meet the Whole Room...and At that place'due south Nobody in It! Nov 2011 $43.0M [103]
Sleeping Girl May 9, 2012 $44.8M [105] [106]
Nude with Joyous Painting July 9, 2020 $46.2M [116]
Woman with Flowered Hat May 15, 2013 $56.1M [109]
Nurse November ix, 2015 $95.4M [117]
Masterpiece January 2017 $165M [9]

References

Citations

  1. ^ a b c d e f grand h i j k fifty Bong, Clare. "The Roy Lichtenstein Foundation – Chronology". Archived from the original on June half-dozen, 2013. Retrieved Nov 12, 2007.
  2. ^ Arnason, H., History of Modern Fine art: Painting, Sculpture, Architecture, New York: Harry N. Abrams, Inc. 1968.
  3. ^ By Michael Kaminer, October 18, 2016, "How Jewish Comic Volume Heroes Inspired Roy Lichtenstein's Pop Art", Forward.com
  4. ^ a b Coplans 1972, Interviews, pp. 55, 30, 31
  5. ^ "Roy Lichtenstein: Biography of American Popular Artist, Comic-Strip-way Painter". Encyclopedia of Fine art. Retrieved June v, 2013.
  6. ^ Cronin, Brian (May 29, 2012). Why Does Batman Behave Shark Repellent?: And Other Amazing Comic Volume Trivia!. Penguin Books. ISBN9781101585443 . Retrieved June 6, 2013.
  7. ^ Collett-White, Mike (February 18, 2013). "Lichtenstein show in UK goes across cartoon classics". Chicago Tribune . Retrieved June viii, 2013.
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  51. ^ Gabilliet, Jean-Paul (2009). Of Comics and Men: A Cultural History of American Comic Books. Academy Press of Mississippi. p. 350. ISBN978-1-60473-267-2.
  52. ^ Roy Lichtenstein: Modernistic Paintings, October 30 – December 11, 2010 Archived November 12, 2010, at the Wayback Machine Richard Grayness Gallery, New York.
  53. ^ a b Roy Lichtenstein Museum of Mod Art, New York.
  54. ^ Alloway 1983, p. 37: "Lichtenstein staked out art as a theme in 1962 in terms of reproductions of masterpieces past Cézanne, Mondrian, and Picasso. The theme reappears in another form in the Brushstrokes of 1965–66: no specific artist is identifiable with them, but at the time the paintings were usually interpreted as a putdown of gestural Abstract Expressionism (the disparity betwixt Lichtenstein's neat technique and the hefty swipes of impasted pigment is marked)."
  55. ^ Roy Lichtenstein: Beginning to Stop, February 2 – May 27, 2007 Fundación Juan March, Madrid.
  56. ^ Richard Kalina (April 12, 2011), Roy Lichtenstein Fine art in America.
  57. ^ a b Deborah Solomon (March viii, 1987), The Art Behind The Dots New York Times.
  58. ^ a b Roy Lichtenstein: Entablatures, September 17 – November 12, 2011 Paula Cooper Gallery, New York.
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  60. ^ "New Mexico Museum of Fine art". Sam.nmartmuseum.org. Archived from the original on March 25, 2014. Retrieved July 9, 2013.
  61. ^ Roy Lichtenstein: American Indian Encounters, May thirteen – September 4, 2006 Archived Dec 26, 2011, at the Wayback Machine Tacoma Art Museum, Tacoma.
  62. ^ Grace Glueck (December 23, 2005) A Pop Artist'southward Fascination With the First Americans New York Times.
  63. ^ Roy Lichtenstein: However Lifes, May 8 – July xxx, 2010 Gagosian Gallery, New York.
  64. ^ "Against Apartheid - Image-Duplicator".
  65. ^ "Against Apartheid Affiche - Paradigm-Duplicator".
  66. ^ Roy Lichtenstein, Reflections on the Prom (1990) Christie's Post War And Gimmicky Art Evening Sale, New York, May 13, 2008.
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  71. ^ DreamWorks Records (August twenty, 1996). "Artist Roy Lichtenstein Designs Logo For DreamWorks Records". Retrieved May 28, 2012.
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  74. ^ Alastair Sooke (Feb xviii, 2013), Roy Lichtenstein's lover: "He wanted to make women cry" Daily Telegraph.
  75. ^ Alloway 1983, pp. 114
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  77. ^ Julianelli, Jane (February two, 1997). "Actor Finds That His Roles Walk on the Darker Side of Life". New York Times.
  78. ^ Jackie Cooperman (May 18, 2010), Dispatch: Captiva Island, Florida T: The New York Times Style Mag.
  79. ^ "'Roy didn't want a woman. He liked them immature and juicy'". www.standard.co.uk. February 27, 2013. Retrieved November 19, 2021.
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  92. ^ John Leland (August xi, 2012), Surprise Bounty for Cleanup Artist New York Times.
  93. ^ a b David Ng (Dec 20, 2013), Getty amidst beneficiaries of massive Roy Lichtenstein Foundation gift Los Angeles Times.
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Bibliography

  • Alloway, Lawrence (1983). Roy Lichtenstein. Modern Masters Series. Vol. one. New York: Abbeville Press. ISBN0-89659-331-2.
  • Coplans, John (1972). Roy Lichtenstein. New York: Praeger. OCLC 605283.
  • Corlett, Mary Lee (2002). The Prints of Roy Lichtenstein : a Catalogue Raisonné 1948–1997 (2 ed.). New York, NY: Hudson Hills Printing. ISBNane-55595-196-1.
  • Hendrickson, Janis (1988). Roy Lichtenstein. Cologne, Germany: Benedikt Taschen. ISBN3-8228-0281-half-dozen.
  • Lobel, Michael (2002). Prototype duplicator : Roy Lichtenstein and the emergence of popular art. New Haven, CT: Yale Academy Printing. ISBN978-0-300-08762-viii.
  • Lucie-Smith, Edward (September i, 1999). Lives of the Great 20th-Century Artists . Thames & Hudson. ISBN978-0-500-23739-7.
  • Marter, Joan 1000., ed. (1999). Off limits : Rutgers University and the Avant-garde, 1957–1963. Newark, N.J.: Newark Museum. ISBN0-8135-2610-8.
  • Selz, Peter (1981). "The 1960s: Painting". Art in Our Times: A Pictorial History 1890–1980. Harry N. Abrams, Inc. ISBN0-8109-1676-two.

Further reading

  • Iden, Peter , Lauter, Rolf , Bilder für Frankfurt, Bestandskatalog Museum für Moderne Kunst, Frankfurt am Main 1985, cover image, pp 82–83, 176–178. ISBN 978-three-7913-0702-2.
  • Roy Lichtenstein Interview with Chris Hunt Image Entertainment video, 1991
  • Roy Lichtenstein Interview with Melvyn Bragg video
  • Adelman, Bob (1999). Roy Lichtenstein'due south ABC'south. Boston: Bulfinch Press. ISBN978-0-8212-2591-2.
  • Waldman, Diane (1988) [1st Pub. 1970]. Roy Lichtenstein : Drawing and Prints. Secaucus, N.J.: Wellfleet Books. ISBN978-one-55521-301-5.

External links

External video
video icon Lichtenstein's Rouen Cathedral Set 5, (iii:10) Smarthistory
video icon Roy Lichtenstein: A Retrospective, (5:fifty), National Gallery of Art
video icon TateShots: Roy Lichtenstein, (three:31) Tate Gallery
video icon Dorothy Lichtenstein on Roy Lichtenstein: A Retrospective on YouTube, (1:16), Art Institute of Chicago
  • Roy Lichtenstein Foundation
  • Roy Lichtenstein at the Museum of Mod Fine art

Biographical:

  • Roy Lichtenstein timeline
  • Roy Lichtenstein – slideshow past The New York Times
  • How Nail Art And Roy Lichtenstein Belong Together – commodity by Forbes
  • Roy Lichtenstein: Pop Art'southward Most Popular; His Whimsical Paintings Once Evoked the "Stupor of the New"; Now They Evoke Tape Prices on the Auction Block

Works:

  • Roy Lichtenstein'south public artwork at Times Square-42nd Street, commissioned by MTA Arts for Transit.
  • Roy Lichtenstein in the National Gallery of Commonwealth of australia's Kenneth Tyler collection

Other:

  • Deconstructing Roy Lichtenstein (sources for Lichtenstein's comic-book paintings)

hornoneved.blogspot.com

Source: https://en.wikipedia.org/wiki/Roy_Lichtenstein

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