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20th-century American pop artist

Roy Lichtenstein
Roy Lichtenstein.jpg

Lichtenstein in 1967
Born

Roy Fox Lichtenstein


(1923-10-27)October 27, 1923

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

New York City, U.S.
Education Timothy Dwight School
Alma mater Ohio Land Academy
Known for Painting, sculpture
Movement Pop art
Spouse(s)
  • Isabel Wilson (1949–1965; divorced; 2 children inc. Mitchell)
  • Dorothy Herzka (m. 1968)
Patron(southward) Gunter Sachs

Roy Flim-flam Lichtenstein [1] (; 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 movement. His piece of 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 piece of work was influenced by pop advertising and the comic book style. His artwork was considered to be "disruptive".[three] He described pop art as "not 'American' painting but actually industrial painting".[4] His paintings were exhibited at the Leo Castelli Gallery in New York Metropolis.

Whaam! and Drowning Girl are generally regarded every bit Lichtenstein'due south nearly famous works.[v] [six] [7] Drowning Girl, Whaam!, and Look Mickey are regarded as his well-nigh influential works.[8] His most expensive piece is Masterpiece, which was sold for $165 million in January 2017.[9]

Early on years

Lichtenstein was born into an upper middle class German language-Jewish family unit in New York City.[1] [ten] [xi] His father, Milton, was a real estate broker, his female parent, Beatrice (Werner), a homemaker.[12] He was raised on New York City's Upper Westward Side and attended public school until the age of twelve. He and so attended New York'south Dwight School, graduating from there in 1940. Lichtenstein first became interested in fine art and design as a hobby, through schoolhouse.[13] He was an avid jazz fan, often attending concerts at the Apollo Theater in Harlem.[thirteen] He frequently drew portraits of the musicians playing their instruments.[13] In his last year of high school, 1939, Lichtenstein enrolled in summertime classes at the Art Students League of New York, where he worked under the tutelage of Reginald Marsh.[14]

Career

Lichtenstein then left New York to study at Ohio State University, which offered studio courses and a caste in fine arts.[1] His studies were interrupted by a three-year stint in the Army during and subsequently World War II betwixt 1943 and 1946.[1] After being in training programs for languages, engineering, and pilot training, all of which were cancelled, he served as an orderly, draftsman, and artist.[1]

Lichtenstein returned home to visit his dying father and was discharged from the Army with eligibility for the G.I. Nib.[13] He returned to studies in Ohio nether the supervision of one of his teachers, Hoyt Fifty. Sherman, who is widely regarded to have had a significant impact on his futurity work (Lichtenstein would later name a new studio he funded at OSU as the Hoyt Fifty. Sherman Studio Art Center).[15]

Lichtenstein entered the graduate program at Ohio State and was hired as an art teacher, a post he held on and off for the next x years. In 1949 Lichtenstein received a Main of Fine Arts caste from Ohio State University.

In 1951, Lichtenstein had his offset solo exhibition at the Carlebach Gallery in New York.[ane] [sixteen] He moved to Cleveland in the same yr, where he remained for six years, although he often traveled back to New York. During this time he undertook jobs equally varied as a draftsman to a window decorator in between periods of painting.[i] His work at this time fluctuated between Cubism and Expressionism.[xiii] In 1954, his offset son, David Hoyt Lichtenstein, now a songwriter, was born. His second son, Mitchell Lichtenstein, was built-in in 1956.[17]

In 1957, he moved back to upstate New York and began teaching again.[iv] Information technology was at this time that he adopted the Abstract Expressionism fashion, being a tardily convert to this fashion of painting.[18] Lichtenstein began teaching in upstate New York at the Land University of New York at Oswego in 1958. About this fourth dimension, he began to incorporate hidden images of cartoon characters such equally Mickey Mouse and Bugs Bunny into his abstract works.[19]

Rise to prominence

In 1960, he started teaching at Rutgers University where he was heavily influenced by Allan Kaprow, who was also a teacher at the university. This environment helped reignite his interest in Proto-pop imagery.[ane] In 1961, Lichtenstein began his first pop paintings using drawing images and techniques derived from the appearance of commercial printing. This phase would keep to 1965, and included the employ of advert imagery suggesting consumerism and homemaking.[13] His beginning work to characteristic the large-scale use of difficult-edged figures and Ben-Day dots was Await Mickey (1961, National Gallery of Art, Washington, D.C.).[twenty] This piece came from a claiming from 1 of his sons, who pointed to a Mickey Mouse comic book and said; "I bet yous can't paint as expert equally that, eh, Dad?"[21] In the aforementioned year he produced half dozen 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-human bear witness at the Castelli gallery in 1962; the entire collection was bought by influential collectors earlier the show even opened.[1] A grouping of paintings produced between 1961 and 1962 focused on lonely household objects such equally sneakers, hot dogs, and golf game 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 war and romantic stories "At that fourth dimension," Lichtenstein later on recounted, "I was interested in annihilation I could use as a subject area that was emotionally strong – ordinarily dear, war, or something that was highly charged and emotional subject matter to be reverse to the removed and deliberate painting techniques".[24]

Period of Lichtenstein's highest profile

It was at this time that Lichtenstein began to find fame not merely in America but worldwide. He moved back to New York to exist at the center of the 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 atomic number 82 story in DC Comics' Secret Hearts No. 83. (Drowning Daughter now hangs in the Museum of Modern Art, New York.[26]) Drowning Daughter also features thick outlines, bold colors and Ben-Day dots, every bit if created by photographic reproduction. Of his own piece of work Lichtenstein would say that the Abstract Expressionists "put things down on the canvass and responded to what they had done, to the color positions and sizes. My mode looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock's or Kline'south."[27]

Rather than attempt to reproduce his subjects, Lichtenstein's work tackled the fashion in which the mass media portrays them. He would never take himself too seriously, however, saying: "I think my work is unlike from comic strips – but I wouldn't telephone call it transformation; I don't retrieve that whatever is meant by it is important to fine art."[28] When Lichtenstein'due south work was first exhibited, many art critics of the time challenged its originality. His work was harshly criticized every bit vulgar and empty. The championship of a Life magazine article in 1964 asked, "Is He the Worst Artist in the U.S.?"[29] Lichtenstein responded to such claims by offering responses such as the post-obit: "The closer my work is to the original, the more than threatening and critical the content. However, my work is entirely transformed in that my purpose and perception are entirely dissimilar. I think my paintings are critically transformed, simply it would be difficult to prove it past any rational line of argument."[30] 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 doubt when I'm really painting, information technology's the criticism that makes y'all wonder, it does."[31]

His well-nigh celebrated image is arguably Whaam! (1963, Tate Modern, London[32]), one of the earliest known examples of popular fine art, adapted from a comic-book panel drawn by Irv Novick in a 1962 event 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 style is heightened past the use of the onomatopoeic lettering "Whaam!" and the boxed caption "I pressed the fire command ... and alee of me rockets blazed through the sky ..." This diptych is large in calibration, measuring 1.7 x 4.0 m (5 ft 7 in ten 13 ft four in).[32] Whaam follows the comic strip-based themes of some of his previous paintings and is office of a trunk of war-themed work created between 1962 and 1964. It is ane of his two notable big state of war-themed paintings. It was purchased by the Tate Gallery in 1966, after existence exhibited at the Leo Castelli Gallery in 1963, and (now at the Tate Modernistic) has remained in their collection ever since. In 1968, the Darmstadt entrepreneur Karl Ströher acquired several major works by Lichtenstein, such equally Nurse (1964), Compositions I (1964), We rose upwards slowly (1964) and Xanthous and Light-green Brushstrokes (1966). After being on loan at the Hessiches Landesmuseum Darmstadt for several years, the founding manager of the Museum für Moderne Kunst Frankfurt, Peter Iden, was able to larn a total of 87 works[34] from the Ströher drove[35] in 1981, primarily American Pop Art and Minimal Art for the museum under structure until 1991.[36]

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

About of Lichtenstein's best-known works are relatively close, just not exact, copies of comic book panels, a subject he largely abandoned in 1965, though he would occasionally contain comics into his work in different ways in afterwards decades. These panels were originally drawn past such comics artists as Jack Kirby and DC Comics artists Russ Heath, Tony Abruzzo, Irv Novick, and Jerry Grandenetti, who rarely received whatever credit. Jack Cowart, executive manager 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 by others. The panels were inverse in scale, color, treatment, and in their implications. There is no exact copy."[38] However, some[39] have been critical of Lichtenstein's utilise of comic-volume imagery and art pieces, specially insofar as that employ has been seen as endorsement of a patronizing view of comics by the fine art mainstream;[39] cartoonist Fine art Spiegelman commented that "Lichtenstein did no more or less for comics than Andy Warhol did for soup."[39]

Lichtenstein'south works based on enlarged panels from comic books engendered a widespread debate about their merits every bit art.[40] [41] Lichtenstein himself admitted, "I am nominally copying, but I am really restating the copied thing in other terms. In doing that, the original acquires a totally different texture. It isn't thick or thin brushstrokes, it's dots and flat colours and unyielding lines."[42] Eddie Campbell blogged that "Lichtenstein took a tiny movie, smaller than the palm of the hand, printed in iv color inks on newsprint and blew it upward to the conventional size at which 'art' is fabricated and exhibited and finished it in paint on canvas."[43] With regard to Lichtenstein, Beak Griffith in one case said, "In that location's high art and there's low art. And then in that location's high art that can accept low fine art, bring it into a high fine art context, appropriate it and elevate it into something else."[44]

Although Lichtenstein'due south comic-based piece of work gained some acceptance, concerns are nevertheless 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 artist Dave Gibbons if he considered Lichtenstein a plagiarist. Gibbons replied: "I would say 'copycat'. In music for instance, you lot can't just whistle somebody else'due south tune or perform somebody else's tune, no matter how badly, without somehow crediting and giving payment to the original artist. That'due south to say, this is 'WHAAM! by Roy Lichtenstein, after 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 University Higher London PhD, Ernesto Priego notes that Lichtenstein's failure to credit the original creators of his comic works was a reflection on the conclusion past National Periodical Publications, the predecessor of DC Comics, to omit whatever credit for their writers and artists:

As well embodying the cultural prejudice confronting comic books every bit vehicles of art, examples similar Lichtenstein'south appropriation of the vocabulary of comics highlight the importance of taking publication format in consideration when defining comics, as well every bit the political economy implied by specific types of historical publications, in this instance the American mainstream comic volume. To what extent was National Journal Publications (afterwards DC) responsible for the rejection of the roles of Kanigher and Novick as artists in their own right past not granting them total authorial credit on the publication itself?"[49]

Furthermore, Campbell notes that there was a time when comic artists ofttimes declined attribution for their work.[43]

In an business relationship published in 1998, Novick said that he had met Lichtenstein in the regular army in 1947 and, as his superior officeholder, had responded to Lichtenstein'southward tearful complaints about the menial tasks he was assigned by recommending him for a better job.[50] Jean-Paul Gabilliet has questioned this account, saying that Lichtenstein had left the army a year before the time Novick says the incident took place.[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 than famous artist.[50]

In 1966, Lichtenstein moved on from his much-celebrated imagery of the early on 1960s, and began his Modern Paintings series, including over 60 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 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]

Later on piece of work

In the early 1960s, Lichtenstein reproduced masterpieces by Cézanne, Mondrian and Picasso before embarking on the Brushstrokes series 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's Chamber in Arles.

In 1970, Lichtenstein was deputed past the Los Angeles Canton Museum of Art (inside its Art and Technology program developed betwixt 1967 and 1971) to make a movie. With the help of Universal Film Studios, the artist conceived of, and produced, Iii Landscapes, a film of marine landscapes, direct related to a series of collages with mural themes he created between 1964 and 1966.[55] Although Lichtenstein had planned on producing 15 short films, the three-screen installation – made with New York-based independent filmmaker Joel Freedman – turned out to be the artist's only venture into the medium.[56]

Also in 1970, Lichtenstein purchased a former wagon business firm in Southampton, Long Island, built a studio on the property, and spent the rest of the 1970s in relative seclusion.[57] In the 1970s and 1980s, his style began to loosen and he expanded on what he had done before. Lichtenstein began a serial of Mirrors paintings in 1969. By 1970, while continuing on the Mirrors series, he started piece of work on the field of study of entablatures. The Entablatures consisted of a first series of paintings from 1971 to 1972, followed by a 2nd 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 example being Artist's Studio, Look Mickey (1973, Walker Art Middle, Minneapolis) which incorporates five other previous works, fitted into the scene.[ane]

During a trip to Los Angeles in 1978, Lichtenstein was fascinated by lawyer Robert Rifkind'due south collection of German Expressionist prints and illustrated books. He began to produce works that borrowed stylistic elements institute in Expressionist paintings. The White Tree (1980) evokes lyric Der Blaue Reiter landscapes, while Dr. Waldmann (1980) recalls Otto Dix'south Dr. Mayer-Hermann (1926). Minor 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 belatedly 1970s, Lichtenstein'south fashion was replaced with more surreal works such equally 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 awe-inspiring wool tapestry Amerind Landscape (1979). The "Indian" works took their themes, like the other parts of the Surrealist serial, from contemporary fine art and other sources, including books on American Indian design from Lichtenstein's minor library.[62]

Lichtenstein's Still Life paintings, sculptures and drawings, which bridge from 1972 through the early on 1980s, comprehend a variety of motifs and themes, including the most traditional such equally fruit, flowers, and vases.[63] In 1983 Lichtenstein fabricated 2 anti-apartheid posters, simply titled "Confronting 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 by 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 false 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's work of the 1990s, such as in Collage for Nude with Carmine Shirt (1995).

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

Commissions

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

In 1969, Lichtenstein was commissioned past Gunter Sachs to create Composition and Leda and the Swan, for the collector's Pop Art sleeping room 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's, Georgia; Mermaid (1979) in Miami Beach; the 26 feet tall Brushstrokes in Flying (1984, moved in 1998) at Port Columbus International Airport; the five-storey high Landscape 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-pes-long, enamel-on-metallic Times Square Mural in Times Square subway station.[70] In 1977, he was commissioned by BMW to paint a Group 5 Racing Version of the BMW 320i for the third installment in the BMW Fine art Car Project. The DreamWorks Records logo was his last completed project.[1] "I'm not in the business of doing anything similar that (a corporate logo) and don't intend to do it over again," allows Lichtenstein. "Only I know Mo Ostin and David Geffen and it seemed interesting."[71]

Recognition

  • 1977 Skowhegan Medal for Painting, Skowhegan School, Skowhegan, Maine.
  • 1979 American University of Arts and Letters, New York.
  • 1989 American University in Rome, Rome, Italy. Artist in residence.
  • 1991 Creative Arts Laurels 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 Higher, Purple Higher 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 brutal upstate winters took a toll on Lichtenstein and his married woman,[73] after he began teaching at the State Academy of New York at Oswego in 1958. The couple sold the family habitation in Highland Park, New Jersey, in 1963[74] and divorced in 1965.

Lichtenstein married his 2nd wife, Dorothy Herzka, in 1968.[75] In 1966, they rented a house in Southampton, New York that Larry Rivers had bought around the corner from his own house.[76] Three years later on, they bought a 1910 railroad vehicle house facing the ocean on Gin Lane.[76] From 1970 until his death, Lichtenstein separate his time between Manhattan and Southampton.[77] He also had a home on Captiva Isle.[78]

In 1991, Lichtenstein began an affair with vocalist 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 married man Andy Partridge of XTC. According to Wexler, Lichtenstein and his married woman Dorothy had an agreement and they both had significant others in add-on to their marriage.

Lichtenstein died of pneumonia on September 29, 1997[21] at New York University Medical Middle, where he had been hospitalized for several weeks, four weeks before his 74th birthday.[12] He was survived by his 2nd wife, Dorothy Herzka,[80] and by his sons, David and Mitchell, from his first marriage.

Relevance

Pop fine 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.[ citation needed ]

Among many other works of art lost in the World Trade Heart attacks on September 11, 2001, a painting from Lichtenstein'south The Entablature Series was destroyed in the subsequent fire.[81]

His work Crying Girl was 1 of the artworks brought to life in Nighttime at the Museum: Battle of the Smithsonian.[ citation needed ]

Exhibitions

In 1964, Lichtenstein became the first American to showroom at the Tate Gallery, London, on the occasion of the bear witness "'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 Four (1968) and VI in (1977). Lichtenstein had his starting time retrospective at the Guggenheim Museum in 1969, organized by Diane Waldman. The Guggenheim presented a second Lichtenstein retrospective in 1994.[58] Lichtenstein became the get-go living creative person to have a solo drawing exhibitions at the Museum of Modern Art from March – June 1987.[82] Contempo retrospective surveys include the 2003 "All About Art," Louisiana Museum of Modern Art, in Denmark (which traveled on to the Hayward Gallery, London, Museo Reina Sofia, Madrid,[83] and the San Francisco Museum of Modernistic Art, until 2005); and "Classic of the New", Kunsthaus Bregenz (2005), "Roy Lichtenstein: Meditations on Fine art" Museo Triennale, Milan (2010, traveled to the Museum Ludwig, Cologne). In late 2010 The Morgan Library & Museum showed Roy Lichtenstein: The Blackness-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 Fine art. 2014: Roy Lichtenstein: Intimate Sculptures, The FLAG Fine art Foundation. Roy Lichtenstein: Opera Prima, Borough Gallery of Modern and Contemporary Arts, Turin.[87] 2018: Exhibition at The Tate Liverpool, Merseyside, United Kingdom.

Collections

In 1996 the National Gallery of Fine art in Washington, D.C. became the largest unmarried repository of the artist's piece of work when Lichtenstein donated 154 prints and 2 books. The Art Institute of Chicago has several of import works by Lichtenstein in its permanent collection, including Brushstroke with Spatter (1966) and Mirror No. three (Six Panels) (1971). The personal holdings of Lichtenstein'south 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 most comprehensive Lichtenstein holdings with Takka Takka (1962), Nurse (1964), Compositions I (1964), besides the Frankfurt Museum für Moderne Kunst with We rose upwardly slowly (1964) and Yellowish and Green Brushstrokes (1966). Exterior the United States and Europe, the National Gallery of Australia's Kenneth Tyler Collection has extensive holdings of Lichtenstein's prints, numbering over 300 works. In total there are some 4,500 works idea to be in circulation.[1]

Roy Lichtenstein Foundation

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

In late 2006, the foundation sent out a vacation card featuring a movie of Electric Cord (1961), a painting that had been missing since 1970 after being sent out to art restorer Daniel Goldreyer past the Leo Castelli Gallery. The card urged the public to study any data most its whereabouts.[xc] In 2012, the foundation authenticated the piece when it surfaced at a New York City warehouse.[91]

Betwixt 2008 and 2012, following the decease of lensman Harry Shunk in 2006,[92] the Lichtenstein Foundation acquired the drove of photographic material shot past Shunk and his János Kender too equally the photographers' copyright.[93] In 2013, the foundation donated the Shunk-Kender trove to five institutions – Getty Research Constitute in Los Angeles; the Museum of Modern Art in New York; the National Gallery of Art in Washington; the Eye Pompidou in Paris; and the Tate in London – that will allow each museum admission to the others' share.[93]

Art marketplace

Since the 1950s Lichtenstein's work has been exhibited in New York and elsewhere with Leo Castelli at his gallery and at Castelli Graphics as well equally 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 Pall, 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 by 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 work in 1970.[97] Similar the entire Brushstrokes series, the subject of the painting is the procedure of Abstract Expressionist painting via sweeping brushstrokes and drips, simply the result of Lichtenstein's simplification that uses a Ben-Solar day dots background is a representation of the mechanical/industrial color printing reproduction.[98]

Lichtenstein'south painting Torpedo ... Los! (1963) sold at Christie'southward for $five.v million in 1989, a record sum at the time, making him one of simply three living artists to take attracted such huge sums.[72] In 2005, In the Auto was sold for a then record $xvi.2m (£10m).

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

Based on a 1961 William Overgard drawing for a Steve Roper cartoon story,[102] Lichtenstein's I Tin 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 Sale Ross for $43 million, double its estimate, at Christie'southward in New York City in 2011; the seller's hubby, Steve Ross had acquired it at auction in 1988 for $2.1 1000000.[103] The painting measures four-foot by 4-pes 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 $44.8 meg at Sotheby'south in 2012.[105] [106]

In October 2012, his painting Electrical 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 it back. He died in 1999. In 2006, the Roy Lichtenstein Foundation published an image of the painting on its holiday greeting card and asked the art community to help find it.[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 Lid set some other record at $56.1 one thousand thousand as it was purchased by British jeweller Laurence Graff from American investor Ronald O. Perelman.[109]

This was topped in 2015 past the auction of Nurse for 95.iv million dollars at a Christie'south sale.[110]

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

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

References

Citations

  1. ^ a b c d e f g h i j chiliad 50 Bell, Clare. "The Roy Lichtenstein Foundation – Chronology". Archived from the original on June vi, 2013. Retrieved November 12, 2007.
  2. ^ Arnason, H., History of Mod Fine art: Painting, Sculpture, Architecture, New York: Harry N. Abrams, Inc. 1968.
  3. ^ By Michael Kaminer, October 18, 2016, "How Jewish Comic Book Heroes Inspired Roy Lichtenstein'due south Pop Art", Forward.com
  4. ^ a b Coplans 1972, Interviews, pp. 55, 30, 31
  5. ^ "Roy Lichtenstein: Biography of American Popular Artist, Comic-Strip-style Painter". Encyclopedia of Art. Retrieved June 5, 2013.
  6. ^ Cronin, Brian (May 29, 2012). Why Does Batman Deport 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 U.k. goes beyond cartoon classics". Chicago Tribune . Retrieved June viii, 2013.
  8. ^ Hoang, Li-mei (September 21, 2012). "Pop art pioneer Lichtenstein in Tate Modernistic retrospective". Chicago Tribune . Retrieved June viii, 2013.
  9. ^ a b c Pogrebin, Robin (June eleven, 2017). "Agnes Gund Sells a Lichtenstein to Start Criminal Justice Fund". The New York Times . Retrieved June 13, 2017.
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  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 some other 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 between Lichtenstein'south neat technique and the hefty swipes of impasted paint is marked)."
  55. ^ Roy Lichtenstein: Beginning to End, February 2 – May 27, 2007 Fundación Juan March, Madrid.
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  61. ^ Roy Lichtenstein: American Indian Encounters, May 13 – September 4, 2006 Archived December 26, 2011, at the Wayback Machine Tacoma Art Museum, Tacoma.
  62. ^ Grace Glueck (December 23, 2005) A Pop Artist'due south Fascination With the First Americans New York Times.
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  65. ^ "Confronting Apartheid Poster - Paradigm-Duplicator".
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  77. ^ Julianelli, Jane (February 2, 1997). "Actor Finds That His Roles Walk on the Darker Side of Life". New York Times.
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Bibliography

  • Alloway, Lawrence (1983). Roy Lichtenstein. Modernistic Masters Serial. Vol. i. New York: Abbeville Printing. 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 Press. ISBN1-55595-196-1.
  • Hendrickson, Janis (1988). Roy Lichtenstein. Cologne, Deutschland: Benedikt Taschen. ISBN3-8228-0281-6.
  • Lobel, Michael (2002). Epitome 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 Great 20th-Century Artists . Thames & Hudson. ISBN978-0-500-23739-7.
  • Marter, Joan Grand., 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. ISBN0-8109-1676-2.

Further reading

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

External links

External video
video icon Lichtenstein's Rouen Cathedral Set Five, (3:10) Smarthistory
video icon Roy Lichtenstein: A Retrospective, (v:50), 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:sixteen), Art Found of Chicago
  • Roy Lichtenstein Foundation
  • Roy Lichtenstein at the Museum of Modern Art

Biographical:

  • Roy Lichtenstein timeline
  • Roy Lichtenstein – slideshow by The New York Times
  • How Nail Art And Roy Lichtenstein Vest Together – article by Forbes
  • Roy Lichtenstein: Pop Fine art's Most Popular; His Whimsical Paintings Once Evoked the "Shock of the New"; At present They Evoke Record Prices on the Auction 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 Commonwealth of australia's Kenneth Tyler collection

Other:

  • Deconstructing Roy Lichtenstein (sources for Lichtenstein'southward comic-volume paintings)

harrislearallings.blogspot.com

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

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