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Modern Comic Book Superhero Pattern Color Colour Cartoon Lichtenstein Pop Art Art Print

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20th-century American popular artist

Roy Lichtenstein
Roy Lichtenstein.jpg

Lichtenstein in 1967
Born

Roy Fox Lichtenstein


(1923-10-27)Oct 27, 1923

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

New York City, U.S.
Educational activity Timothy Dwight School
Alma mater Ohio State University
Known for Painting, sculpture
Motility Pop art
Spouse(southward)
  • Isabel Wilson (1949–1965; divorced; two children inc. Mitchell)
  • Dorothy Herzka (1000. 1968)
Patron(southward) Gunter Sachs

Roy Fox 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 amongst others, he became a leading effigy in the new art move. His work divers the premise of pop fine art through parody.[2] 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 popular advertising and the comic book style. His artwork was considered to be "disruptive".[3] He described pop art as "not 'American' painting but really industrial painting".[iv] His paintings were exhibited at the Leo Castelli Gallery in New York City.

Whaam! and Drowning Daughter are by and large regarded as Lichtenstein'south about famous works.[5] [6] [7] Drowning Girl, Whaam!, and Expect Mickey are regarded as his most influential works.[viii] His nigh expensive piece is Masterpiece, which was sold for $165 one thousand thousand in January 2017.[9]

Early years

Lichtenstein was born into an upper middle class German language-Jewish family in New York City.[1] [10] [11] His father, Milton, was a real estate broker, his female parent, Beatrice (Werner), a homemaker.[12] He was raised on New York Urban center'due south Upper West Side and attended public school until the age of twelve. He then attended New York'southward Dwight Schoolhouse, graduating from at that place in 1940. Lichtenstein first became interested in art and design every bit a hobby, through school.[thirteen] He was an avid jazz fan, frequently attending concerts at the Apollo Theater in Harlem.[13] He frequently drew portraits of the musicians playing their instruments.[thirteen] In his last year of high school, 1939, Lichtenstein enrolled in summertime classes at the Art Students League of New York, where he worked nether the tutelage of Reginald Marsh.[14]

Career

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

Lichtenstein returned home to visit his dying male parent and was discharged from the Army with eligibility for the M.I. Beak.[13] He returned to studies in Ohio under the supervision of one of his teachers, Hoyt 50. Sherman, who is widely regarded to take had a pregnant touch on his future work (Lichtenstein would after proper noun a new studio he funded at OSU every bit the Hoyt L. Sherman Studio Art Middle).[fifteen]

Lichtenstein entered the graduate plan at Ohio State and was hired equally an art instructor, a mail service he held on and off for the side by side ten years. In 1949 Lichtenstein received a Master of Fine Arts degree from Ohio State Academy.

In 1951, Lichtenstein had his offset 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 dorsum to New York. During this time he undertook jobs as varied as a draftsman to a window decorator in between periods of painting.[ane] His piece of work at this time fluctuated between Cubism and Expressionism.[13] In 1954, his first son, David Hoyt Lichtenstein, now a songwriter, was built-in. His second son, Mitchell Lichtenstein, was born in 1956.[17]

In 1957, he moved dorsum to upstate New York and began teaching again.[4] It was at this time that he adopted the Abstruse Expressionism mode, existence a belatedly convert to this style of painting.[18] Lichtenstein began educational activity in upstate New York at the Land Academy of New York at Oswego in 1958. About this time, he began to incorporate hidden images of cartoon characters such as Mickey Mouse and Bugs Bunny into his abstract works.[19]

Rising 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 academy. This environment helped reignite his involvement in Proto-popular imagery.[1] In 1961, Lichtenstein began his first pop paintings using cartoon images and techniques derived from the appearance of commercial printing. This stage would go along to 1965, and included the use of advertising imagery suggesting consumerism and homemaking.[xiii] His offset piece of work to feature the large-scale use of hard-edged figures and Ben-24-hour interval dots was Look Mickey (1961, National Gallery of Art, Washington, D.C.).[xx] This slice came from a challenge from 1 of his sons, who pointed to a Mickey Mouse comic book and said; "I bet yous can't paint as good every bit that, eh, Dad?"[21] In the same year he produced six other works with recognizable characters from gum wrappers and cartoons.[xix]

In 1961, Leo Castelli started displaying Lichtenstein's piece of work at his gallery in New York. Lichtenstein had his get-go ane-man show at the Castelli gallery in 1962; the entire collection was bought past influential collectors before the bear witness even opened.[1] A group of paintings produced between 1961 and 1962 focused on lone household objects such as sneakers, hot dogs, and golf balls.[22] In September 1963 he took a leave of absence from his pedagogy position at Douglass College at Rutgers.[23]

His works were inspired past comics featuring war and romantic stories "At that fourth dimension," Lichtenstein later recounted, "I was interested in anything I could use as a subject field that was emotionally stiff – ordinarily beloved, war, or something that was highly charged and emotional subject area matter to be opposite to the removed and deliberate painting techniques".[24]

Period of Lichtenstein's highest profile

It was at this fourth dimension that Lichtenstein began to discover fame not only in America but worldwide. He moved back to New York to exist at the centre of the 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 as Drowning Girl (1963), which was appropriated from the lead story in DC Comics' Surreptitious Hearts No. 83. (Drowning Daughter now hangs in the Museum of Modern Art, New York.[26]) Drowning Girl 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 Abstruse Expressionists "put things downwards on the sail and responded to what they had done, to the color positions and sizes. My way looks completely unlike, just the nature of putting downward lines pretty much is the same; mine just don't come up out looking calligraphic, similar Pollock'due south or Kline'south."[27]

Rather than effort to reproduce his subjects, Lichtenstein's piece of work tackled the style in which the mass media portrays them. He would never take himself as well seriously, notwithstanding, saying: "I remember my work is different from comic strips – but I wouldn't call information technology transformation; I don't think that whatever is meant by it is important to art."[28] When Lichtenstein's work was get-go 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 article in 1964 asked, "Is He the Worst Artist in the U.Southward.?"[29] Lichtenstein responded to such claims by offering responses such every bit the following: "The closer my piece of work is to the original, the more than threatening and disquisitional the content. Yet, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by 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 information technology was at times difficult to be criticized, Lichtenstein said, "I don't dubiousness when I'm actually painting, it'due south the criticism that makes you lot wonder, it does."[31]

His nigh celebrated prototype is arguably Whaam! (1963, Tate Modern, London[32]), one of the earliest known examples of pop art, adapted from a comic-volume console drawn by Irv Novick in a 1962 upshot of DC Comics' All-American Men of War.[33] The painting depicts a fighter aircraft firing a rocket into an enemy plane, with a reddish-and-yellow explosion. The cartoon style is heightened by the use of the onomatopoeic lettering "Whaam!" and the boxed explanation "I pressed the fire control ... and ahead of me rockets blazed through the sky ..." This diptych is large in scale, measuring 1.7 x iv.0 thou (5 ft 7 in x 13 ft 4 in).[32] Whaam follows the comic strip-based themes of some of his previous paintings and is function of a trunk of war-themed work created between 1962 and 1964. Information technology is one 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 Modern) has remained in their collection e'er since. In 1968, the Darmstadt entrepreneur Karl Ströher acquired several major works past Lichtenstein, such as Nurse (1964), Compositions I (1964), We rose up slowly (1964) and Yellowish and 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 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 Head of Girl (1964), and Caput with Cerise Shadow (1965), he collaborated with a ceramicist who sculpted the grade of the head out of clay. Lichtenstein so applied a glaze to create the same sort of graphic motifs that he used in his paintings; the application of black lines and Ben-Day dots to iii-dimensional objects resulted in a flattening of the class.[37]

Most of Lichtenstein's best-known works are relatively close, but non verbal, copies of comic book panels, a subject he largely abandoned in 1965, though he would occasionally incorporate comics into his piece of work in unlike ways in later 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 any credit. Jack Cowart, executive 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 codification of sentiment that had been worked out by others. The panels were changed in scale, color, treatment, and in their implications. At that place is no verbal copy."[38] Still, some[39] have been critical of Lichtenstein's use of comic-volume imagery and art pieces, particularly insofar as 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 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 claim as art.[40] [41] Lichtenstein himself admitted, "I am nominally copying, but I am actually restating the copied matter in other terms. In doing that, the original acquires a totally dissimilar texture. It isn't thick or sparse brushstrokes, it's dots and flat colours and unyielding lines."[42] Eddie Campbell blogged that "Lichtenstein took a tiny picture, smaller than the palm of the hand, printed in four colour inks on newsprint and blew information technology up to the conventional size at which 'art' is made and exhibited and finished it in paint on sail."[43] With regard to Lichtenstein, Bill Griffith one time said, "There'due south high art and there's low art. And and so there's high art that tin take low art, bring it into a loftier art context, advisable it and drag information technology into something else."[44]

Although Lichtenstein'southward comic-based work gained some acceptance, concerns are still expressed by critics who say Lichtenstein did non credit, pay whatever 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, y'all can't just whistle somebody else'south tune or perform somebody else'due south tune, no matter how badly, without somehow crediting and giving payment to the original artist. That'south to say, this is 'WHAAM! by Roy Lichtenstein, afterward Irv Novick'."[47] Sooke himself maintains that "Lichtenstein transformed Novick's artwork in a number of subtle but crucial means."[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 decision past National Periodical Publications, the predecessor of DC Comics, to omit any credit for their writers and artists:

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

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

In an business relationship published in 1998, Novick said that he had met Lichtenstein in the ground forces in 1947 and, as his superior officeholder, had responded to Lichtenstein's bawling complaints about the menial tasks he was assigned by recommending him for a better task.[l] Jean-Paul Gabilliet has questioned this account, maxim that Lichtenstein had left the army a yr 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 be an attempt to personally diminish" the more famous creative person.[50]

In 1966, Lichtenstein moved on from his much-historic imagery of the early on 1960s, and began his Modern Paintings series, including over 60 paintings and accompanying drawings. Using his feature Ben-Twenty-four hour period 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 series of 1967–8 made reference to motifs from Art Déco architecture.[53]

Later on 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 afterward in his career with works such as Bedchamber at Arles that derived from Vincent van Gogh's Bedroom in Arles.

In 1970, Lichtenstein was deputed by the Los Angeles Canton Museum of Fine art (inside its Art and Technology programme developed between 1967 and 1971) to make a film. With the help of Universal Motion picture Studios, the artist conceived of, and produced, Three Landscapes, a film of marine landscapes, directly related to a serial of collages with landscape themes he created between 1964 and 1966.[55] Although Lichtenstein had planned on producing 15 short films, the 3-screen installation – made with New York-based independent filmmaker Joel Freedman – turned out to be the creative person's only 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 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. By 1970, while continuing on the Mirrors series, he started work on the subject of entablatures. The Entablatures consisted of a get-go series of paintings from 1971 to 1972, followed past a second serial 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'due south Studio, Look 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'due south 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'south Dr. Mayer-Hermann (1926). Small colored-pencil drawings were used as templates for woodcuts, a medium favored by Emil Nolde and Max Pechstein, every bit well as Dix and Ernst Ludwig Kirchner.[59] Likewise in the late 1970s, Lichtenstein'due south mode was replaced with more than surreal works such equally Pow Wow (1979, Ludwig Forum für Internationale Kunst, Aachen). A major series of Surrealist-Popular 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'south small library.[62]

Lichtenstein's Still Life paintings, sculptures and drawings, which span from 1972 through the early 1980s, comprehend a multifariousness of motifs and themes, including the near traditional such as fruit, flowers, and vases.[63] In 1983 Lichtenstein fabricated two anti-apartheid posters, simply titled "Against Apartheid".[64] [65] In his Reflection series, produced between 1988 and 1990, Lichtenstein reused his own motifs from previous works.[66] Interiors (1991–1992) is a series of works depicting banal domestic environments inspired by article of furniture ads the creative person found in phone 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 Fashion series are formed with simulated Benday dots and block contours, rendered in difficult, brilliant colour, with all traces of the manus removed.[68] The nude is a recurring element in Lichtenstein's work of the 1990s, such equally in Collage for Nude with Carmine Shirt (1995).

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

Commissions

Grouping v 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'due south Popular Fine 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's, Georgia; Mermaid (1979) in Miami Beach; the 26 anxiety tall Brushstrokes in Flying (1984, moved in 1998) at Port Columbus International Airdrome; the five-storey high Mural with Blue Brushstroke (1984–85) at the Equitable Heart, New York; and El Cap de Barcelona (1992) in Barcelona.[53] In 1994, Lichtenstein created the 53-foot-long, enamel-on-metallic Times Square Mural in Times Square subway station.[seventy] In 1977, he was deputed past BMW to paint a Group 5 Racing Version of the BMW 320i for the 3rd installment in the BMW Art Automobile Projection. The DreamWorks Records logo was his last completed project.[1] "I'k not in the business of doing annihilation like that (a corporate logo) and don't intend to do it again," allows Lichtenstein. "Merely 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. 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, Regal College of Fine art (1993), Ohio State University (1987), Southampton College (1980), and the California Institute of the Arts (1977). He too served on the board of the Brooklyn University 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 cost on Lichtenstein and his wife,[73] subsequently he began educational activity at the State University of New York at Oswego in 1958. The couple sold the family dwelling house 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 around the corner from his own house.[76] Three years later, they bought a 1910 carriage house facing the sea on Gin Lane.[76] From 1970 until his expiry, Lichtenstein split up his fourth dimension between Manhattan and Southampton.[77] He as well had a home on Captiva Isle.[78]

In 1991, Lichtenstein began an matter with vocalist Erica Wexler who became the muse for his Nudes series including the 1994 "Nudes with Beach Ball." 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. According to Wexler, Lichtenstein and his married woman Dorothy had an understanding and they both had significant 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 earlier his 74th birthday.[12] He was survived by his second wife, Dorothy Herzka,[80] and past his sons, David and Mitchell, from his offset marriage.

Relevance

Pop 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 Center attacks on September 11, 2001, a painting from Lichtenstein's The Entablature Series was destroyed in the subsequent fire.[81]

His work Crying Daughter 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 outset 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 yr, his get-go 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 by Diane Waldman. The Guggenheim presented a second Lichtenstein retrospective in 1994.[58] Lichtenstein became the get-go living artist to accept a solo drawing exhibitions at the Museum of Modernistic Fine art from March – June 1987.[82] Recent retrospective surveys include the 2003 "All About Fine 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 Fine art, until 2005); and "Archetype 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 Blackness-and-White Drawings, 1961–1968.[84] Another major retrospective opened at the Art Plant of Chicago in May 2012 before going to the National Gallery of Fine art in Washington,[85] Tate Modernistic in London, and the Eye 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 Contemporary Arts, Turin.[87] 2018: Exhibition at The Tate Liverpool, Merseyside, Britain.

Collections

In 1996 the National Gallery of Art in Washington, D.C. became the largest single repository of the artist'south piece of work when Lichtenstein donated 154 prints and 2 books. The Fine art Constitute of Chicago has several important works by Lichtenstein in its permanent drove, including Brushstroke with Spatter (1966) and Mirror No. 3 (Vi 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 well-nigh comprehensive Lichtenstein holdings with Takka Takka (1962), Nurse (1964), Compositions I (1964), besides the Frankfurt Museum für Moderne Kunst with We rose upwards slowly (1964) and Yellow and Greenish 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 iv,500 works thought to exist 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 lath decided the benefits of authenticating were outweighed by the risks of protracted lawsuits.[89]

In late 2006, the foundation sent out a holiday card featuring a pic of Electrical Cord (1961), a painting that had been missing since 1970 later on being sent out to fine art restorer Daniel Goldreyer by the Leo Castelli Gallery. The card urged the public to written report any information about its whereabouts.[90] In 2012, the foundation authenticated the piece when it surfaced at a New York City warehouse.[91]

Betwixt 2008 and 2012, following the death of photographer Harry Shunk in 2006,[92] the Lichtenstein Foundation acquired the collection of photographic material shot by Shunk and his János Kender as well as the photographers' copyright.[93] In 2013, the foundation donated the Shunk-Kender trove to five institutions – Getty Research Institute in Los Angeles; the Museum of Mod Fine art in New York; the National Gallery of Fine art in Washington; the Eye Pompidou in Paris; and the Tate in London – that volition allow each museum access to the others' share.[93]

Fine art market

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 every bit 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 among others. Leo Castelli Gallery represented Lichtenstein exclusively since 1962,[12] when a solo show by the artist sold out before it opened.[94]

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

Big Painting No. 6 (1965) became the highest priced Lichtenstein work in 1970.[97] Similar the entire Brushstrokes series, the subject area of the painting is the process of Abstract Expressionist painting via sweeping brushstrokes and drips, just the consequence of Lichtenstein's simplification that uses a Ben-Day dots background is a representation of the mechanical/industrial color printing reproduction.[98]

Lichtenstein'southward painting Torpedo ... Los! (1963) sold at Christie'due south for $5.5 meg in 1989, a record sum at the time, making him one of only three living artists to have attracted such huge sums.[72] In 2005, In the Car was sold for a then record $xvi.2m (£10m).

In 2010, his drawing-style 1964 painting Ohhh...Alright..., previously owned by Steve Martin and later by Steve Wynn,[99] was sold at a record The states$42.6m (£26.7m) at a auction at Christie'due south in New York.[100] [101]

Based on a 1961 William Overgard drawing for a Steve Roper drawing story,[102] Lichtenstein's I Tin can Run across the Whole Room...and There'southward Nobody in It! (1961) depicts a homo looking through a hole in a door. It was sold by collector Courtney Sale Ross for $43 million, double its estimate, at Christie'south in New York City in 2011; the seller's hubby, Steve Ross had caused it at auction in 1988 for $2.1 million.[103] The painting measures four-pes by four-human foot and is in graphite and oil.[104]

The comic painting Sleeping Girl (1964) from the drove of Beatrice and Phillip Gersh established a new Lichtenstein record $44.8 meg at Sotheby's in 2012.[105] [106]

In October 2012, his painting Electric Cord (1962) was returned to Leo Castelli's widow Barbara Bertozzi Castelli, after having been missing for 42 years. Castelli had sent the painting to an fine art restorer for cleaning in Jan 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 assistance discover information technology.[107] The painting was constitute in a New York warehouse, later having been displayed in Bogota, Colombia.[108]

In 2013, the painting Woman with Flowered Hat set another record at $56.1 meg every bit it 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.iv million dollars at a Christie'southward auction.[110]

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

Roy Lichtenstein sales records
Work Engagement Price Source
Big Painting No. 6 November 1970 $75,000 [97]
Torpedo...Los! Nov seven, 1989 $5.5M [111] [112]
Kiss Two 1990 $6.0M [112] [113]
Happy Tears November 2002 $7.1M [113] [114]
In the Car 2005 $xvi.2M [114] [115]
Ohhh...Alright... November 2010 $42.6M [100] [115]
I Can Come across the Whole Room...and There'southward Nobody in Information technology! November 2011 $43.0M [103]
Sleeping Girl May nine, 2012 $44.8M [105] [106]
Nude with Joyous Painting July ix, 2020 $46.2M [116]
Woman with Flowered Hat May 15, 2013 $56.1M [109]
Nurse November nine, 2015 $95.4M [117]
Masterpiece Jan 2017 $165M [9]

References

Citations

  1. ^ a b c d e f g h i j chiliad l Bong, Clare. "The Roy Lichtenstein Foundation – Chronology". Archived from the original on June 6, 2013. Retrieved November 12, 2007.
  2. ^ Arnason, H., History of Modernistic Art: Painting, Sculpture, Architecture, New York: Harry N. Abrams, Inc. 1968.
  3. ^ Past Michael Kaminer, Oct 18, 2016, "How Jewish Comic Book Heroes Inspired Roy Lichtenstein's Popular Art", Forward.com
  4. ^ a b Coplans 1972, Interviews, pp. 55, xxx, 31
  5. ^ "Roy Lichtenstein: Biography of American Pop Creative person, Comic-Strip-manner Painter". Encyclopedia of Art. Retrieved June 5, 2013.
  6. ^ Cronin, Brian (May 29, 2012). Why Does Batman Deport Shark Repellent?: And Other Astonishing Comic Book Trivia!. Penguin Books. ISBN9781101585443 . Retrieved June 6, 2013.
  7. ^ Collett-White, Mike (February 18, 2013). "Lichtenstein show in Britain goes across drawing classics". 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. University Press of Mississippi. p. 350. ISBN978-1-60473-267-ii.
  52. ^ Roy Lichtenstein: Modern Paintings, Oct thirty – Dec 11, 2010 Archived November 12, 2010, at the Wayback Machine Richard Gray Gallery, New York.
  53. ^ a b Roy Lichtenstein Museum of Modern Art, New York.
  54. ^ Alloway 1983, p. 37: "Lichtenstein staked out fine art as a theme in 1962 in terms of reproductions of masterpieces by Cézanne, Mondrian, and Picasso. The theme reappears in another class in the Brushstrokes of 1965–66: no specific creative person is identifiable with them, only at the fourth dimension the paintings were ordinarily interpreted as a putdown of gestural Abstract Expressionism (the disparity between Lichtenstein's peachy technique and the hefty swipes of impasted paint is marked)."
  55. ^ Roy Lichtenstein: Starting time to End, Feb 2 – May 27, 2007 Fundación Juan March, Madrid.
  56. ^ Richard Kalina (April 12, 2011), Roy Lichtenstein Art in America.
  57. ^ a b Deborah Solomon (March 8, 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.
  59. ^ Lichtenstein: Expressionism, July 1 – October 12, 2013 Gagosian Gallery, Paris.
  60. ^ "New Mexico Museum of Fine art". Sam.nmartmuseum.org. Archived from the original on March 25, 2014. Retrieved July ix, 2013.
  61. ^ Roy Lichtenstein: American Indian Encounters, May xiii – September 4, 2006 Archived December 26, 2011, at the Wayback Machine Tacoma Art Museum, Tacoma.
  62. ^ Grace Glueck (December 23, 2005) A Pop Artist'south Fascination With the Offset Americans New York Times.
  63. ^ Roy Lichtenstein: Withal Lifes, May eight – July 30, 2010 Gagosian Gallery, New York.
  64. ^ "Against Apartheid - Image-Duplicator".
  65. ^ "Against Apartheid Affiche - Image-Duplicator".
  66. ^ Roy Lichtenstein, Reflections on the Prom (1990) Christie'southward Post War And Contemporary Fine art Evening Sale, New York, May 13, 2008.
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  68. ^ Roy Lichtenstein: Landscapes in the Chinese Style, Nov 12 – December 22, 2011 Gagosian Gallery, Hong Kong.
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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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  74. ^ Alastair Sooke (February 18, 2013), Roy Lichtenstein'due south lover: "He wanted to make women cry" Daily Telegraph.
  75. ^ Alloway 1983, pp. 114
  76. ^ a b Bob Colacello (January 2000), Studios by the Ocean Vanity Fair.
  77. ^ Julianelli, Jane (Feb ii, 1997). "Histrion Finds That His Roles Walk on the Darker Side of Life". New York Times.
  78. ^ Jackie Cooperman (May xviii, 2010), Acceleration: Captiva Island, Florida T: The New York Times Mode Magazine.
  79. ^ "'Roy didn't want a woman. He liked them immature and juicy'". www.standard.co.uk. February 27, 2013. Retrieved November 19, 2021.
  80. ^ Farah Nayeri (Feb twenty, 2013). "Lichtenstein Widow Recalls Macro Diet, Love for Jazz". Bloomberg.com.
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  89. ^ Patricia Cohen (June nineteen, 2012), In Art, Freedom of Expression Doesn't Extend to 'Is It Existent?' New York Times.
  90. ^ Barbara Ross (July 31, 2012), 'Lost' Roy Lichtenstein painting surfaces on Upper E Side after existence missing for 42 years Daily News.
  91. ^ Kate Kowsh, Liz Sadler and Dareh Gregorian (Baronial one, 2012), $4M piece found – Art lost 42 yrs. New York Post.
  92. ^ John Leland (August 11, 2012), Surprise Bounty for Cleanup Artist New York Times.
  93. ^ a b David Ng (December 20, 2013), Getty amongst beneficiaries of massive Roy Lichtenstein Foundation gift Los Angeles Times.
  94. ^ Holland Cotter (October eighteen, 2012), Absurd. Commercial. Unmistakable. New York Times.
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Bibliography

  • Alloway, Lawrence (1983). Roy Lichtenstein. Modern Masters Series. Vol. 1. 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. ISBNi-55595-196-one.
  • Hendrickson, Janis (1988). Roy Lichtenstein. Cologne, Germany: Benedikt Taschen. ISBN3-8228-0281-6.
  • Lobel, Michael (2002). Image duplicator : Roy Lichtenstein and the emergence of pop art. New Haven, CT: Yale University Press. 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 M., 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-ii.

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 978-3-7913-0702-2.
  • Roy Lichtenstein Interview with Chris Chase Image Amusement video, 1991
  • Roy Lichtenstein Interview with Melvyn Bragg video
  • Adelman, Bob (1999). Roy Lichtenstein'southward ABC's. Boston: Bulfinch Press. ISBN978-0-8212-2591-2.
  • Waldman, Diane (1988) [1st Pub. 1970]. Roy Lichtenstein : Cartoon and Prints. Secaucus, Due north.J.: Wellfleet Books. ISBN978-1-55521-301-5.

External links

External video
video icon Lichtenstein'due south Rouen Cathedral Set Five, (three:10) Smarthistory
video icon Roy Lichtenstein: A Retrospective, (5:50), National Gallery of Art
video icon TateShots: Roy Lichtenstein, (three:31) Tate Gallery
video icon Dorothy Lichtenstein on Roy Lichtenstein: A Retrospective on YouTube, (ane:16), Art Institute of Chicago
  • Roy Lichtenstein Foundation
  • Roy Lichtenstein at the Museum of Mod Art

Biographical:

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

Works:

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

Other:

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

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