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What Pop Artisst Based Much of His Art Wotk on Comics

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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.Due south.
Education Timothy Dwight School
Alma mater Ohio State Academy
Known for Painting, sculpture
Movement Popular art
Spouse(s)
  • Isabel Wilson (1949–1965; divorced; ii children inc. Mitchell)
  • Dorothy Herzka (m. 1968)
Patron(s) Gunter Sachs

Roy Pull a fast one on Lichtenstein [one] (; October 27, 1923 – September 29, 1997) was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art motion. His work defined the premise of pop art through parody.[two] Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in-cheek manner. His work was influenced by pop advertising and the comic volume style. His artwork was considered to be "disruptive".[iii] He described pop art every bit "non 'American' painting but actually industrial painting".[4] His paintings were exhibited at the Leo Castelli Gallery in New York City.

Whaam! and Drowning Daughter are by and large regarded as Lichtenstein's nigh famous works.[5] [6] [7] Drowning Girl, Whaam!, and Look Mickey are regarded as his most influential works.[8] His well-nigh expensive piece is Masterpiece, which was sold for $165 million in January 2017.[ix]

Early years

Lichtenstein was born into an upper heart class German-Jewish family in New York Metropolis.[i] [10] [11] His father, Milton, was a existent estate broker, his mother, Beatrice (Werner), a homemaker.[12] He was raised on New York City's Upper West Side and attended public school until the age of twelve. He then attended New York's Dwight School, graduating from there in 1940. Lichtenstein first became interested in art and design as a hobby, through school.[13] He was an avid jazz fan, oftentimes attending concerts at the Apollo Theater in Harlem.[13] He frequently drew portraits of the musicians playing their instruments.[13] In his last year of loftier school, 1939, Lichtenstein enrolled in summer classes at the Fine art Students League of New York, where he worked under the tutelage of Reginald Marsh.[fourteen]

Career

Lichtenstein then left New York to report at Ohio State University, which offered studio courses and a degree in fine arts.[ane] His studies were interrupted by a three-yr stint in the Army during and after World War 2 between 1943 and 1946.[1] Subsequently being in training programs for languages, engineering, and pilot grooming, all of which were cancelled, he served as an orderly, draftsman, and artist.[one]

Lichtenstein returned home to visit his dying father and was discharged from the Regular army with eligibility for the G.I. Bill.[xiii] He returned to studies in Ohio under the supervision of one of his teachers, Hoyt Fifty. Sherman, who is widely regarded to take had a significant impact on his future piece of work (Lichtenstein would afterward name a new studio he funded at OSU equally the Hoyt 50. Sherman Studio Fine art Center).[15]

Lichtenstein entered the graduate program at Ohio Country and was hired equally an fine art teacher, a post he held on and off for the adjacent ten years. In 1949 Lichtenstein received a Principal of Fine Arts degree from Ohio State University.

In 1951, Lichtenstein had his first solo exhibition at the Carlebach Gallery in New York.[1] [16] He moved to Cleveland in the aforementioned year, where he remained for six years, although he frequently traveled back to New York. During this time he undertook jobs as varied equally a draftsman to a window decorator in between periods of painting.[1] His work at this time fluctuated between Cubism and Expressionism.[13] In 1954, his first son, David Hoyt Lichtenstein, now a songwriter, was born. His second son, Mitchell Lichtenstein, was born in 1956.[17]

In 1957, he moved back to upstate New York and began didactics again.[4] It was at this fourth dimension that he adopted the Abstract Expressionism manner, being a late catechumen to this manner of painting.[18] Lichtenstein began teaching in upstate New York at the State Academy of New York at Oswego in 1958. About this fourth dimension, he began to incorporate hidden images of cartoon characters such every bit Mickey Mouse and Bugs Bunny into his abstract works.[nineteen]

Rising to prominence

In 1960, he started teaching at Rutgers Academy where he was heavily influenced past Allan Kaprow, who was also a instructor at the academy. This environment helped reignite his involvement in Proto-pop imagery.[1] In 1961, Lichtenstein began his first popular paintings using cartoon images and techniques derived from the appearance of commercial press. This phase would go on to 1965, and included the use of advertisement imagery suggesting consumerism and homemaking.[xiii] His get-go work to feature the big-calibration utilise of hard-edged figures and Ben-Mean solar day dots was Look Mickey (1961, National Gallery of Art, Washington, D.C.).[twenty] This piece came from a challenge from one of his sons, who pointed to a Mickey Mouse comic volume and said; "I bet you tin't pigment as good as that, eh, Dad?"[21] In the same twelvemonth he produced six other works with recognizable characters from gum wrappers and cartoons.[19]

In 1961, Leo Castelli started displaying Lichtenstein's work at his gallery in New York. Lichtenstein had his first one-homo show at the Castelli gallery in 1962; the entire collection was bought past influential collectors before the prove even opened.[1] A group of paintings produced betwixt 1961 and 1962 focused on lone household objects such as sneakers, hot dogs, and golf game balls.[22] In September 1963 he took a leave of absenteeism from his didactics position at Douglass College at Rutgers.[23]

His works were inspired by comics featuring state of war and romantic stories "At that time," Lichtenstein later recounted, "I was interested in anything I could use equally a subject field that was emotionally strong – commonly love, war, or something that was highly charged and emotional subject matter to be opposite to the removed and deliberate painting techniques".[24]

Period of Lichtenstein'south highest profile

It was at this fourth dimension that Lichtenstein began to find fame not just in America simply 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 on acrylic) paint in his best known works, such equally Drowning Girl (1963), which was appropriated from the pb story in DC Comics' Hush-hush Hearts No. 83. (Drowning Girl at present hangs in the Museum of Modern Art, New York.[26]) Drowning Girl too features thick outlines, assuming colors and Ben-Day dots, as if created by photographic reproduction. Of his own work Lichtenstein would say that the Abstruse Expressionists "put things down on the sheet and responded to what they had washed, to the color positions and sizes. My way looks completely unlike, but the nature of putting downwards 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 way in which the mass media portrays them. He would never take himself too seriously, however, saying: "I think my work is different from comic strips – merely I wouldn't call it transformation; I don't think that whatever is meant by it is important to art."[28] When Lichtenstein'south piece of work was first exhibited, many art critics of the fourth dimension challenged its originality. His piece of work was harshly criticized as vulgar and empty. The title of a Life magazine commodity in 1964 asked, "Is He the Worst Artist in the U.Southward.?"[29] Lichtenstein responded to such claims by offering responses such as the following: "The closer my work is to the original, the more threatening and critical the content. However, my work is entirely transformed in that my purpose and perception are entirely different. I recall my paintings are critically transformed, just it would be hard to prove it by any rational line of statement."[xxx] He discussed experiencing this heavy criticism in an interview with April Bernard and Mimi Thompson in 1986. Suggesting that it was at times difficult to be criticized, Lichtenstein said, "I don't dubiety when I'm actually painting, it'south the criticism that makes you wonder, it does."[31]

His most celebrated image is arguably Whaam! (1963, Tate Modern, London[32]), one of the primeval known examples of pop art, adapted from a comic-book panel drawn past 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 airplane, with a carmine-and-yellow explosion. The cartoon style is heightened past the employ of the onomatopoeic lettering "Whaam!" and the boxed caption "I pressed the burn command ... and ahead of me rockets blazed through the sky ..." This diptych is large in scale, measuring i.7 x 4.0 m (5 ft seven in x 13 ft 4 in).[32] Whaam follows the comic strip-based themes of some of his previous paintings and is part of a body of state of war-themed work created between 1962 and 1964. Information technology is i of his two 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 Mod) has remained in their collection ever since. In 1968, the Darmstadt entrepreneur Karl Ströher caused several major works past Lichtenstein, such as Nurse (1964), Compositions I (1964), We rose up slowly (1964) and Yellow and Green Brushstrokes (1966). Later 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 acquire a full of 87 works[34] from the Ströher collection[35] in 1981, primarily American Popular Art and Minimal Art for the museum under structure until 1991.[36]

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

Most of Lichtenstein's best-known works are relatively close, but not verbal, copies of comic volume panels, a bailiwick he largely abased in 1965, though he would occasionally incorporate comics into his piece of work in unlike ways in later decades. These panels were originally fatigued 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 director of the Lichtenstein Foundation, contests the notion that Lichtenstein was a copyist, proverb: "Roy's piece of work was a wonderment of the graphic formulae and the codification of sentiment that had been worked out by others. The panels were changed in calibration, colour, treatment, and in their implications. There is no verbal copy."[38] However, some[39] have been critical of Lichtenstein's use of comic-book imagery and art pieces, especially insofar every bit that use has been seen as endorsement of a patronizing view of comics by the fine art mainstream;[39] cartoonist Art Spiegelman commented that "Lichtenstein did no more or less for comics than Andy Warhol did for soup."[39]

Lichtenstein's works based on enlarged panels from comic books engendered a widespread debate about their merits as art.[40] [41] Lichtenstein himself admitted, "I am nominally copying, but I am really restating the copied matter in other terms. In doing that, the original acquires a totally unlike texture. It isn't thick or thin brushstrokes, information technology's dots and flat colours and unyielding lines."[42] Eddie Campbell blogged that "Lichtenstein took a tiny picture, smaller than the palm of the paw, printed in four color inks on newsprint and blew information technology up to the conventional size at which 'art' is made and exhibited and finished information technology in paint on sail."[43] With regard to Lichtenstein, Bill Griffith once said, "There's high art and there's low art. And so there's high fine art that can take low 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 even so 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 volume artist Dave Gibbons if he considered Lichtenstein a plagiarist. Gibbons replied: "I would say 'copycat'. In music for instance, you can't just whistle somebody else's tune 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, afterwards Irv Novick'."[47] Sooke himself maintains that "Lichtenstein transformed Novick's artwork in a number of subtle but crucial ways."[48]

Journal founder, City University London lecturer and Academy 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 Journal 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 fine art, examples like Lichtenstein's appropriation of the vocabulary of comics highlight the importance of taking publication format in consideration when defining comics, as well equally the political economic system implied by specific types of historical publications, in this case the American mainstream comic book. To what extent was National Journal Publications (afterwards DC) responsible for the rejection of the roles of Kanigher and Novick equally artists in their own right by not granting them total authorial credit on the publication itself?"[49]

Furthermore, Campbell notes that at that place was a time 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 regular army in 1947 and, as his superior officer, had responded to Lichtenstein'due south bawling complaints near the menial tasks he was assigned by recommending him for a better job.[50] Jean-Paul Gabilliet has questioned this account, proverb that Lichtenstein had left the army a twelvemonth before the time Novick says the incident took place.[51] Bart Beaty, noting that Lichtenstein had appropriated Novick for works such as Whaam! and Okay Hot-Shot, Okay!, says that Novick's story "seems to exist an endeavour to personally diminish" the more famous artist.[50]

In 1966, Lichtenstein moved on from his much-celebrated imagery of the early 1960s, and began his Modern Paintings series, including over threescore 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 series of 1967–8 made reference to motifs from Art Déco compages.[53]

Later on work

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

In 1970, Lichtenstein was deputed by the Los Angeles County Museum of Art (within its Art and Technology program developed between 1967 and 1971) to make a film. With the help of Universal Picture Studios, the artist conceived of, and produced, Three Landscapes, a film of marine landscapes, directly related to a series of collages with landscape themes he created between 1964 and 1966.[55] Although Lichtenstein had planned on producing 15 brusk films, the three-screen installation – made with New York-based independent filmmaker Joel Freedman – turned out to be the artist'south merely venture into the medium.[56]

Also in 1970, Lichtenstein purchased a former carriage business firm in Southampton, Long Island, built a studio on the property, and spent the residual of the 1970s in relative seclusion.[57] In the 1970s and 1980s, his mode began to loosen and he expanded on what he had done before. Lichtenstein began a series of Mirrors paintings in 1969. By 1970, while continuing on the Mirrors series, he started work on the subject field of entablatures. The Entablatures consisted of a commencement series of paintings from 1971 to 1972, followed by a second series in 1974–76, and the publication of a series of relief prints in 1976.[58] He produced a series of "Artists Studios" which incorporated elements of his previous work. A notable instance being Artist's Studio, Await Mickey (1973, Walker 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 drove of German Expressionist prints and illustrated books. He began to produce works that borrowed stylistic elements establish 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). Pocket-sized colored-pencil drawings were used as templates for woodcuts, a medium favored by Emil Nolde and Max Pechstein, as well equally Dix and Ernst Ludwig Kirchner.[59] Also in the late 1970s, Lichtenstein's style was replaced with more surreal works such every bit Prisoner of war 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, similar the other parts of the Surrealist series, from contemporary art and other sources, including books on American Indian design from Lichtenstein's small library.[62]

Lichtenstein's Still Life paintings, sculptures and drawings, which span from 1972 through the early 1980s, cover a variety of motifs and themes, including the virtually traditional such as fruit, flowers, and vases.[63] In 1983 Lichtenstein made two anti-apartheid posters, simply titled "Against Apartheid".[64] [65] In his Reflection series, produced between 1988 and 1990, Lichtenstein reused his ain motifs from previous works.[66] Interiors (1991–1992) is a series of works depicting banal domestic environments inspired past furniture ads the artist found 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, vivid color, with all traces of the paw removed.[68] The nude is a recurring element in Lichtenstein'south work of the 1990s, such as in Collage for Nude with Cherry-red Shirt (1995).

In improver to paintings and sculptures, Lichtenstein also made over 300 prints, generally in screenprinting.[69]

Commissions

Grouping 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's Pop Fine art bedroom suite at the Palace Hotel in St. Moritz. In the tardily 1970s and during the 1980s, Lichtenstein received major commissions for works in public places: the sculptures Lamp (1978) in St. Mary's, Georgia; Mermaid (1979) in Miami Beach; the 26 feet alpine Brushstrokes in Flight (1984, moved in 1998) at Port Columbus International Airport; the five-storey loftier Mural with Blue Brushstroke (1984–85) at the Equitable Center, New York; and El Cap de Barcelona (1992) in Barcelona.[53] In 1994, Lichtenstein created the 53-foot-long, enamel-on-metal Times Square Landscape in Times Square subway station.[lxx] In 1977, he was deputed by BMW to paint a Group 5 Racing Version of the BMW 320i for the third installment in the BMW Art Car Projection. The DreamWorks Records logo was his last completed project.[1] "I'yard not in the business of doing anything like that (a corporate logo) and don't intend to practice information technology once more," allows Lichtenstein. "But I know Mo Ostin and David Geffen and information technology seemed interesting."[71]

Recognition

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

Lichtenstein received numerous Honorary Doctorate degrees from, among others, the George Washington University (1996), Bard College, Royal College of Art (1993), Ohio State University (1987), Southampton College (1980), and the California Found of the Arts (1977). He also 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 vicious upstate winters took a price on Lichtenstein and his wife,[73] after he began teaching at the Country University of New York at Oswego in 1958. The couple sold the family home in Highland Park, New Jersey, in 1963[74] and divorced in 1965.

Lichtenstein married his second married woman, Dorothy Herzka, in 1968.[75] In 1966, they rented a house in Southampton, New York that Larry Rivers had bought effectually the corner from his own house.[76] Three years afterward, they bought a 1910 carriage house facing the ocean on Gin Lane.[76] From 1970 until his expiry, Lichtenstein dissever his time between Manhattan and Southampton.[77] He likewise had a dwelling house on Captiva Island.[78]

In 1991, Lichtenstein began an affair with singer Erica Wexler who became the muse for his Nudes series including the 1994 "Nudes with Embankment Brawl." She was 22 and he was 68.[79] The affair lasted until 1994 and was over when Wexler went to England with hereafter husband Andy Partridge of XTC. According 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 Academy Medical Center, where he had been hospitalized for several weeks, four weeks before his 74th altogether.[12] He was survived by his second wife, Dorothy Herzka,[80] and by his sons, David and Mitchell, from his showtime marriage.

Relevance

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

Among many other works of art lost in the World Merchandise Eye attacks on September 11, 2001, a painting from Lichtenstein's The Entablature Series was destroyed in the subsequent burn down.[81]

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

Exhibitions

In 1964, Lichtenstein became the first American to exhibit at the Tate Gallery, London, on the occasion of the show "'54–'64: Painting and Sculpture of a Decade." In 1967, his first museum retrospective exhibition was held at the Pasadena Art Museum in California. The same twelvemonth, his first solo exhibition in Europe was held at museums in Amsterdam, London, Bern and Hannover.[72] Lichtenstein later participated in documentas Iv (1968) and VI in (1977). Lichtenstein had his first retrospective at the Guggenheim Museum in 1969, organized past Diane Waldman. The Guggenheim presented a second Lichtenstein retrospective in 1994.[58] Lichtenstein became the outset living artist to have a solo drawing exhibitions at the Museum of Mod Art from March – June 1987.[82] Recent retrospective surveys include the 2003 "All About Art," Louisiana Museum of Modern Fine art, in Kingdom of denmark (which traveled on to the Hayward Gallery, London, Museo Reina Sofia, Madrid,[83] and the San Francisco Museum of Mod 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] Another major retrospective opened at the Art Institute of Chicago in May 2012 before going to the National Gallery of Art in Washington,[85] Tate Modern in London, and the Centre Pompidou in Paris in 2013.[86] 2013:Roy Lichtenstein, Olyvia 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 single repository of the creative person's work when Lichtenstein donated 154 prints and two books. The Art Institute of Chicago has several of import works past Lichtenstein in its permanent collection, including Brushstroke with Spatter (1966) and Mirror No. iii (Half dozen 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 nigh comprehensive Lichtenstein holdings with Takka Takka (1962), Nurse (1964), Compositions I (1964), besides the Frankfurt Museum für Moderne Kunst with We rose up slowly (1964) and Yellow and Dark-green Brushstrokes (1966). Outside the U.s. and Europe, the National Gallery of Australia'due south Kenneth Tyler Collection has extensive holdings of Lichtenstein's prints, numbering over 300 works. In total at that place are some 4,500 works thought to be in circulation.[1]

Roy Lichtenstein Foundation

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

In late 2006, the foundation sent out a holiday carte featuring a picture show of Electrical String (1961), a painting that had been missing since 1970 subsequently being sent out to art restorer Daniel Goldreyer by the Leo Castelli Gallery. The card urged the public to report any data about its whereabouts.[90] In 2012, the foundation authenticated the slice 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 as well as the photographers' copyright.[93] In 2013, the foundation donated the Shunk-Kender trove to 5 institutions – Getty Enquiry Establish in Los Angeles; the Museum of Mod Art in New York; the National Gallery of Art in Washington; the Centre Pompidou in Paris; and the Tate in London – that will allow each museum access to the others' share.[93]

Art marketplace

Since the 1950s Lichtenstein's piece of work has been exhibited in New York and elsewhere with Leo Castelli at his gallery and at Castelli Graphics as well as with Ileana Sonnabend in her gallery in Paris, and at the Ferus Gallery, Stride 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 Pall, Condon Riley, 65 Thompson Street, Holly Solomon, and Sperone Westwater Galleries amongst others. Leo Castelli Gallery represented Lichtenstein exclusively since 1962,[12] when a solo bear witness by the creative person sold out before it opened.[94]

Beginning in 1962, the Leo Castelli Gallery, New York, held regular exhibitions of the creative person's piece of work.[95] Gagosian Gallery has been exhibiting piece of work past Lichtenstein since 1996.[96]

Big Painting No. half dozen (1965) became the highest priced Lichtenstein work in 1970.[97] Similar the entire Brushstrokes series, the subject of the painting is the process of Abstruse Expressionist painting via sweeping brushstrokes and drips, simply the issue of Lichtenstein'south 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'due south for $5.5 million in 1989, a record sum at the time, making him one of only three living artists to take attracted such huge sums.[72] In 2005, In the Car was sold for a and then record $16.2m (£10m).

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

Based on a 1961 William Overgard drawing for a Steve Roper cartoon story,[102] Lichtenstein's I Can See the Whole Room...and There's Nobody in It! (1961) depicts a man looking through a hole in a door. It was sold by collector Courtney Auction Ross for $43 one thousand thousand, double its gauge, at Christie's in New York Metropolis in 2011; the seller's married man, Steve Ross had caused it at auction in 1988 for $ii.1 meg.[103] The painting measures four-foot by four-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 tape $44.viii million at Sotheby's in 2012.[105] [106]

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

In 2013, the painting Woman with Flowered Hat ready some other tape at $56.one million as information technology was purchased by British jeweller Laurence Graff from American investor Ronald O. Perelman.[109]

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

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

Roy Lichtenstein sales records
Work Date Cost Source
Big Painting No. 6 November 1970 $75,000 [97]
Torpedo...Los! November vii, 1989 $5.5M [111] [112]
Kiss 2 1990 $half-dozen.0M [112] [113]
Happy Tears Nov 2002 $7.1M [113] [114]
In the Car 2005 $16.2M [114] [115]
Ohhh...Alright... Nov 2010 $42.6M [100] [115]
I Can See the Whole Room...and There's Nobody in It! November 2011 $43.0M [103]
Sleeping Girl May ix, 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 Nov 9, 2015 $95.4M [117]
Masterpiece January 2017 $165M [9]

References

Citations

  1. ^ a b c d e f g h i j k l Bell, Clare. "The Roy Lichtenstein Foundation – Chronology". Archived from the original on June 6, 2013. Retrieved Nov 12, 2007.
  2. ^ Arnason, H., History of Modern Art: Painting, Sculpture, Architecture, New York: Harry N. Abrams, Inc. 1968.
  3. ^ By Michael Kaminer, Oct 18, 2016, "How Jewish Comic Book Heroes Inspired Roy Lichtenstein'south Popular Fine art", Forwards.com
  4. ^ a b Coplans 1972, Interviews, pp. 55, 30, 31
  5. ^ "Roy Lichtenstein: Biography of American Pop Artist, Comic-Strip-manner Painter". Encyclopedia of Fine art. Retrieved June 5, 2013.
  6. ^ Cronin, Brian (May 29, 2012). Why Does Batman Carry Shark Repellent?: And Other Amazing Comic Volume Trivia!. Penguin Books. ISBN9781101585443 . Retrieved June six, 2013.
  7. ^ Collett-White, Mike (February 18, 2013). "Lichtenstein show in UK goes beyond cartoon classics". Chicago Tribune . Retrieved June eight, 2013.
  8. ^ Hoang, Li-mei (September 21, 2012). "Pop art pioneer Lichtenstein in Tate Mod retrospective". Chicago Tribune . Retrieved June 8, 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 Gray Gallery, New York.
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  54. ^ Alloway 1983, p. 37: "Lichtenstein staked out art equally a theme in 1962 in terms of reproductions of masterpieces by Cézanne, Mondrian, and Picasso. The theme reappears in another course in the Brushstrokes of 1965–66: no specific creative person is identifiable with them, but at the fourth dimension the paintings were unremarkably interpreted equally a putdown of gestural Abstract Expressionism (the disparity betwixt Lichtenstein's neat technique and the hefty swipes of impasted paint is marked)."
  55. ^ Roy Lichtenstein: Outset to Terminate, February two – May 27, 2007 Fundación Juan March, Madrid.
  56. ^ Richard Kalina (April 12, 2011), Roy Lichtenstein Art in America.
  57. ^ a b Deborah Solomon (March eight, 1987), The Art Behind The Dots New York Times.
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  60. ^ "New Mexico Museum of Fine art". Sam.nmartmuseum.org. Archived from the original on March 25, 2014. Retrieved July nine, 2013.
  61. ^ Roy Lichtenstein: American Indian Encounters, May xiii – September 4, 2006 Archived Dec 26, 2011, at the Wayback Machine Tacoma Art Museum, Tacoma.
  62. ^ Grace Glueck (Dec 23, 2005) A Popular Artist'due south Fascination With the First Americans New York Times.
  63. ^ Roy Lichtenstein: Still Lifes, May 8 – July 30, 2010 Gagosian Gallery, New York.
  64. ^ "Against Apartheid - Image-Duplicator".
  65. ^ "Against Apartheid Poster - Image-Duplicator".
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  71. ^ DreamWorks Records (August 20, 1996). "Artist Roy Lichtenstein Designs Logo For DreamWorks Records". Retrieved May 28, 2012.
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  76. ^ a b Bob Colacello (January 2000), Studios by the Sea Vanity Fair.
  77. ^ Julianelli, Jane (February 2, 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.u.k.. February 27, 2013. Retrieved November 19, 2021.
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  92. ^ John Leland (August 11, 2012), Surprise Bounty for Cleanup Artist New York Times.
  93. ^ a b David Ng (December twenty, 2013), Getty among beneficiaries of massive Roy Lichtenstein Foundation gift Los Angeles Times.
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Bibliography

  • Alloway, Lawrence (1983). Roy Lichtenstein. Modernistic Masters Series. Vol. ane. New York: Abbeville Press. ISBN0-89659-331-ii.
  • 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 Press. ISBN1-55595-196-1.
  • Hendrickson, Janis (1988). Roy Lichtenstein. Cologne, Germany: Benedikt Taschen. ISBNthree-8228-0281-6.
  • Lobel, Michael (2002). Prototype duplicator : Roy Lichtenstein and the emergence of pop art. New Haven, CT: Yale Academy Printing. ISBN978-0-300-08762-8.
  • Lucie-Smith, Edward (September 1, 1999). Lives of the Nifty 20th-Century Artists . Thames & Hudson. ISBN978-0-500-23739-seven.
  • Marter, Joan K., ed. (1999). Off limits : Rutgers Academy 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. ISBN0-8109-1676-2.

Farther 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 978-3-7913-0702-2.
  • Roy Lichtenstein Interview with Chris Hunt Image Amusement video, 1991
  • Roy Lichtenstein Interview with Melvyn Bragg video
  • Adelman, Bob (1999). Roy Lichtenstein's ABC'due south. Boston: Bulfinch Printing. ISBN978-0-8212-2591-2.
  • Waldman, Diane (1988) [1st Pub. 1970]. Roy Lichtenstein : Drawing and Prints. Secaucus, North.J.: Wellfleet Books. ISBN978-ane-55521-301-5.

External links

External video
video icon Lichtenstein'south Rouen Cathedral Set V, (3:10) Smarthistory
video icon Roy Lichtenstein: A Retrospective, (5:fifty), National Gallery of Art
video icon TateShots: Roy Lichtenstein, (3:31) 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 Modernistic Fine art

Biographical:

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

Works:

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

Other:

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

macqueennoins1972.blogspot.com

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

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