20th-century american dad artist

Roy Fox Lichtenstein [ 1 ] ( ; October 27, 1923 – September 29, 1997 ) was an american english popular artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a lead visualize in the raw artwork motion. His influence defined the premise of pop artwork through spoof. [ 2 ] Inspired by the amusing strip, Lichtenstein produced accurate compositions that documented while they parodied, often in a facetiously manner. His work was influenced by democratic ad and the comedian book stylus. His artwork was considered to be “ disruptive ”. [ 3 ] He described pop artwork as “ not ‘American ‘ paint but actually industrial painting ”. [ 4 ] His paintings were exhibited at the Leo Castelli Gallery in New York City. Whaam! and Drowning Girl are broadly regarded as Lichtenstein ‘s most celebrated works. [ 5 ] [ 6 ] [ 7 ] Drowning Girl, Whaam!, and Look Mickey are regarded as his most influential works. [ 8 ] His most expensive piece is Masterpiece, which was sold for $ 165 million in January 2017. [ 9 ]

early years

Lichtenstein was jewish, although he “ played down his roots ” and “ did n’t speak often of being jewish ”. [ 3 ] His family was amphetamine center class. [ 1 ] [ 10 ] [ 11 ] His father, Milton, was a very estate broker, his mother, Beatrice ( Werner ), a housewife. [ 12 ] He was raised on New York City ‘s Upper West Side and attended populace school until the age of twelve. He then attended New York ‘s Dwight School, graduating from there in 1940. Lichtenstein first became matter to in art and design as a avocation, through school. [ 13 ] He was an avid jazz fan, often 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 high school, 1939, Lichtenstein enrolled in summer 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 apartment courses and a degree in fine arts. [ 1 ] His studies were interrupted by a three-year stint in the Army during and after World War II between 1943 and 1946. [ 1 ] After being in education programs for languages, engineering, and original train, all of which were cancelled, he served as an neat, draftsman, and artist. [ 1 ] Lichtenstein returned home to visit his dying father and was discharged from the Army with eligibility for the G.I. Bill. [ 13 ] He returned to studies in Ohio under the supervision of one of his teachers, Hoyt L. Sherman, who is wide regarded to have had a significant impact on his future work ( Lichtenstein would belated name a raw studio apartment he funded at OSU as the Hoyt L. Sherman Studio Art Center ). [ 15 ] Lichtenstein entered the alumnus platform at Ohio State and was hired as an artwork teacher, a post he held on and off for the next ten years. In 1949 Lichtenstein received a victor 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 like year, where he remained for six years, although he frequently traveled rear to New York. During this prison term he undertook jobs a varied as a draftsman to a window interior designer in between periods of paint. [ 1 ] His work at this fourth dimension 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 rear to upstate New York and began teaching again. [ 4 ] It was at this time that he adopted the abstract Expressionism style, being a deep convert to this style of painting. [ 18 ] Lichtenstein began teaching in upstate New York at the State University of New York at Oswego in 1958. About this clock time, he began to incorporate concealed images of cartoon characters such as Mickey Mouse and Bugs Bunny into his abstract works. [ 19 ]

advance to prominence

In 1960, he started teaching at Rutgers University where he was heavily influenced by Allan Kaprow, who was besides a teacher at the university. This environment helped reignite his pastime in Proto-pop imagination. [ 1 ] In 1961, Lichtenstein began his beginning toss off paintings using cartoon images and techniques derived from the appearance of commercial printing. This phase would continue to 1965, and included the use of advertise imagination suggesting consumerism and homemaking. [ 13 ] His first employment to feature the large-scale use of hard-edged figures and Ben-Day dots was Look Mickey ( 1961, National Gallery of Art, Washington, D.C. ). [ 20 ] This part came from a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said ; “ I bet you ca n’t paint ampere good as that, eh, Dad ? ” [ 21 ] In the lapp year he produced six early works with recognizable characters from gum wrappers and cartoons. [ 19 ] In 1961, Leo Castelli started displaying Lichtenstein ‘s knead at his drift in New York. Lichtenstein had his first one-man read at the Castelli gallery in 1962 ; the entire solicitation was bought by influential collectors before the show flush opened. [ 1 ] A group of paintings produced between 1961 and 1962 focused on lonely family objects such as sneakers, hot dogs, and golf balls. [ 22 ] In September 1963 he took a leave of absence from his teaching put at Douglass College at Rutgers. [ 23 ] His works were inspired by comics featuring war and romantic stories “ At that time, ” Lichtenstein late recounted, “ I was matter to in anything I could use as a subject that was emotionally potent – normally love, war, or something that was highly charged and aroused national topic to be opposite to the removed and careful painting techniques ”. [ 24 ]

period of Lichtenstein ‘s highest profile

It was at this clock time that Lichtenstein began to find fame not merely in America but worldwide. He moved back to New York to be at the center of the art fit and resigned from Rutgers University in 1964 to concentrate on his paint. [ 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 history in DC Comics ‘ Secret Hearts No. 83. ( Drowning Girl now hangs in the Museum of Modern Art, New York. [ 26 ] ) Drowning Girl besides features thick outlines, bold colors and Ben-Day dots, as if created by photographic reproduction. Of his own influence Lichtenstein would say that the Abstract Expressionists “ put things down on the canvas and responded to what they had done, to the color positions and sizes. My stylus looks wholly unlike, but the nature of putting down lines pretty a lot is the same ; mine just do n’t come out looking calligraphic, like Pollock ‘s or Kline ‘s. ” [ 27 ] preferably than attempt to reproduce his subjects, Lichtenstein ‘s work tackled the way in which the mass media portrays them. He would never take himself excessively badly, however, saying : “ I think my knead is different from comedian strips – but I would n’t call it transformation ; I do n’t think that whatever is meant by it is significant to art. ” [ 28 ] When Lichtenstein ‘s work was foremost exhibited, many art critics of the meter challenged its originality. His work was gratingly criticized as coarse and empty. The title of a Life cartridge holder 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 trace : “ The closer my function is to the original, the more baleful and critical the contentedness. however, my work is wholly transformed in that my function and perception are wholly different. I think my paintings are critically transformed, but it would be unmanageable to prove it by any rational line of argumentation. ” [ 30 ] He discussed experiencing this heavy criticism in an consultation with April Bernard and Mimi Thompson in 1986. Suggesting that it was at times difficult to be criticized, Lichtenstein said, “ I do n’t doubt when I ‘m actually painting, it ‘s the criticism that makes you wonder, it does. ” [ 31 ] His most celebrated double is arguably Whaam! ( 1963, Tate Modern, London [ 32 ] ), one of the earliest know examples of pop art, adapted from a comic-book panel drawn by Irv Novick in a 1962 issue of DC Comics ‘ All-American Men of War. [ 33 ] The painting depicts a champion aircraft firing a rocket into an enemy plane, with a red-and-yellow plosion. The cartoon dash is heightened by the practice of the onomatopoeic lettering “Whaam!” and the box caption “I pressed the fire control … and ahead of me rockets blazed through the sky …” This diptych is large in scale, measuring 1.7 x 4.0 thousand ( 5 foot 7 in x 13 foot 4 in ). [ 32 ] Whaam follows the comic strip-based themes of some of his previous paintings and is region of a soundbox of war-themed cultivate created between 1962 and 1964. It is one of his two luminary large war-themed paintings. It was purchased by the Tate Gallery in 1966, after being exhibited at the Leo Castelli Gallery in 1963, and ( now at the Tate Modern ) has remained in their solicitation always since. In 1968, the Darmstadt entrepreneur Karl Ströher acquired several major works by Lichtenstein, such as Nurse ( 1964 ), Compositions I ( 1964 ), We rose up slowly ( 1964 ) and Yellow and Green Brushstrokes ( 1966 ). After being on loan at the Hessiches Landesmuseum Darmstadt for several years, the founding conductor of the Museum für Moderne Kunst Frankfurt, Peter Iden, was able to acquire a sum of 87 works [ 34 ] from the Ströher collection [ 35 ] in 1981, primarily american Pop Art and Minimal Art for the museum under construction until 1991. [ 36 ] Lichtenstein began experimenting with sculpture around 1964, demonstrating a bent for the mannequin 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 potter who sculpted the shape of the head out of cadaver. Lichtenstein then applied a glaze to create the lapp sort of graphic motifs that he used in his paintings ; the application of total darkness lines and Ben-Day dots to cubic objects resulted in a flatten of the phase. [ 37 ] Most of Lichtenstein ‘s best-known works are relatively close, but not accurate, copies of comedian ledger panels, a subject he largely abandoned in 1965, though he would occasionally incorporate comics into his exercise in different ways in subsequently decades. These panels were originally drawn by such comics artists as Jack Kirby and DC Comics artists Russ Heath, Tony Abruzzo, Irv Novick, and Jerry Grandenetti, who rarely received any credit. Jack Cowart, executive conductor of the Lichtenstein Foundation, contests the notion that Lichtenstein was a copyist, saying : “ Roy ‘s work was a wonder of the graphic formula and the codification of opinion that had been worked out by others. The panels were changed in scale, coloring material, treatment, and in their implications. There is no accurate copy. ” [ 38 ] however, some [ 39 ] have been critical of Lichtenstein ‘s use of comic-book imagination and artwork pieces, specially insofar as that use has been seen as second of a patronizing view of comics by the artwork 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 elaborate panels from comedian books engendered a widespread debate about their merits as artwork. [ 40 ] [ 41 ] Lichtenstein himself admitted, “ I am nominally replicate, but I am in truth restating the copy thing in other terms. In doing that, the original acquires a wholly different texture. It is n’t thick or thin brushstrokes, it ‘s dots and flat colours and unyielding lines. ” [ 42 ] Eddie Campbell blogged that “ Lichtenstein took a bantam video, smaller than the handle of the hand, printed in four color inks on newspaper and blew it up to the conventional size at which ‘art ‘ is made and exhibited and finished it in paint on canvas. ” [ 43 ] With respect to Lichtenstein, Bill Griffith once said, “ There ‘s high artwork and there ‘s abject art. And then there ‘s high artwork that can take low artwork, bring it into a high art context, appropriate it and elevate it into something else. ” [ 44 ] Although Lichtenstein ‘s comic-based cultivate gained some acceptance, concerns are still expressed by critics who say Lichtenstein did not credit rating, pay any royalties to, or try license from the master artists or copyright holders. [ 45 ] [ 46 ] In an interview for a BBC Four documentary in 2013, Alastair Sooke asked the amusing ledger artist Dave Gibbons if he considered Lichtenstein a plagiarist. Gibbons replied : “ I would say ‘copycat ‘. In music for case, you ca n’t precisely whistle person else ‘s tune or perform person else ‘s tune, no matter how badly, without somehow credit and giving requital to the original artist. That ‘s to say, this is ‘WHAAM ! by Roy Lichtenstein, after Irv Novick ‘. ” [ 47 ] Sooke himself maintains that “ Lichtenstein transformed Novick ‘s artwork in a act of subtle but crucial ways. ” [ 48 ] Journal founder, City University London lector and University College London PhD, Ernesto Priego notes that Lichtenstein ‘s failure to credit the original creators of his comedian employment was a reflection on the decision by National Periodical Publications, the harbinger of DC Comics, to omit any credit for their writers and artists :

Besides embodying the cultural prejudice against comedian books as vehicles of artwork, examples like Lichtenstein ‘s appropriation of the vocabulary of comics highlight the importance of taking issue format in consideration when defining comics, american samoa well as the political economy implied by particular types of historic publications, in this encase the American mainstream amusing book. To what extent was National Periodical Publications ( late DC ) creditworthy for the rejection of the roles of Kanigher and Novick as artists in their own proper by not granting them entire authorial recognition on the issue itself ? ” [ 49 ]

furthermore, Campbell notes that there was a time when amusing artists often declined attribution for their bring. [ 43 ] In an bill published in 1998, Novick said that he had met Lichtenstein in the army in 1947 and, as his superior officer, had responded to Lichtenstein ‘s dolorous 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 class before the meter Novick says the incidental 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 report “ seems to be an attempt to personally diminish ” the more celebrated artist. [ 50 ] In 1966, Lichtenstein moved on from his much-celebrated imagination 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, frequently consecutive, motifs. [ 52 ] The Modern Sculpture series of 1967–8 made reference to motifs from Art Déco architecture. [ 53 ]

late sour

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 late in his career with works such as Bedroom at Arles that derived from Vincent van Gogh ‘s Bedroom in Arles. In 1970, Lichtenstein was commissioned 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 aid of Universal Film Studios, the artist gestate 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 short films, the three-screen facility – made with New York-based mugwump film maker Joel Freedman – turned out to be the artist ‘s entirely venture into the medium. [ 56 ] besides in 1970, Lichtenstein purchased a early baby buggy house in Southampton, Long Island, built a studio on the property, and spent the rest of the 1970s in relative privacy. [ 57 ] In the 1970s and 1980s, his style began to loosen and he expanded on what he had done ahead. Lichtenstein began a series of Mirrors paintings in 1969. By 1970, while continuing on the Mirrors series, he started cultivate on the discipline of entablatures. The Entablatures consisted of a first series of paintings from 1971 to 1972, followed by a second series in 1974–76, and the publication of a series of relief prints in 1976. [ 58 ] He produced a series of “ Artists Studios ” which incorporated elements of his previous influence. A noteworthy model being Artist’s Studio, Look Mickey ( 1973, Walker Art Center, Minneapolis ) which incorporates five early previous works, fitted into the view. [ 1 ] During a stumble to Los Angeles in 1978, Lichtenstein was fascinated by lawyer Robert Rifkind ‘s collection of german Expressionist prints and illustrate books. He began to produce works that borrowed stylistic elements found in Expressionist paintings. The White Tree ( 1980 ) evokes lyric Der Blaue Reiter landscapes, while Dr. Waldmann ( 1980 ) recalls Otto Dix ‘s Dr. Mayer-Hermann ( 1926 ). minor colored-pencil drawings were used as templates for woodcuts, a medium favored by Emil Nolde and Max Pechstein, american samoa well as Dix and Ernst Ludwig Kirchner. [ 59 ] besides in the late 1970s, Lichtenstein ‘s style was replaced with more dreamlike works such as Pow Wow ( 1979, Ludwig Forum für Internationale Kunst, Aachen ). A major series of Surrealist-Pop paintings from 1979 to 1981 is based on native american themes. [ 60 ] [ 61 ] These works range from Amerind Figure ( 1981 ), a stylize life-size sculpture evocative of a streamline totem pole in black-patinated bronze, to the monumental wool tapestry Amerind Landscape ( 1979 ). The “ amerind ” works took their themes, like the early 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 most traditional such as yield, 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 own motifs from previous works. [ 66 ] Interiors ( 1991–1992 ) is a serial 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 motif of his Landscapes in the Chinese Style series are formed with simulated Benday dots and engine block contours, rendered in hard, intense semblance, with all traces of the hand removed. [ 68 ] The nude is a recurring element in Lichtenstein ‘s work of the 1990s, such as in Collage for Nude with Red Shirt ( 1995 ). In addition to paintings and sculptures, Lichtenstein besides made over 300 prints, largely in screenprinting. [ 69 ]

Commissions

Group 5 Racing Version of BMW 320i, painted in 1977 by Roy Lichtenstein In 1969, Lichtenstein was commissioned by Gunter Sachs to create Composition and Leda and the Swan, for the collector ‘s Pop Art bedroom suite at the Palace Hotel in St. Moritz. In the late 1970s and during the 1980s, Lichtenstein received major commissions for works in populace places : the sculptures Lamp ( 1978 ) in St. Mary ‘s, Georgia ; Mermaid ( 1979 ) in Miami Beach ; the 26 feet tall Brushstrokes in Flight ( 1984, moved in 1998 ) at Port Columbus International Airport ; the five-storey high 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 Mural in Times Square metro place. [ 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 Art Car Project. The DreamWorks Records logo was his last completed project. [ 1 ] “ I ‘m not in the business of doing anything like that ( a corporate logo ) and do n’t intend to do it again, ” allows Lichtenstein. “ But I know Mo Ostin and David Geffen and it seemed matter to. ” [ 71 ]

recognition

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 Institute of the Arts ( 1977 ). He besides served on the board of the Brooklyn Academy of Music. [ 57 ]

personal life

In 1949, Lichtenstein married Isabel Wilson, who previously had been married to Ohio artist Michael Sarisky. [ 72 ] however, the beastly upstate winters took a price on Lichtenstein and his wife, [ 73 ] after he began teaching at the State 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 gear wife, Dorothy Herzka, in 1968. [ 75 ] In 1966, they rented a firm in Southampton, New York that Larry Rivers had bought around the corner from his own house. [ 76 ] Three years late, they bought a 1910 carriage house facing the ocean on Gin Lane. [ 76 ] From 1970 until his end, Lichtenstein split his time between Manhattan and Southampton. [ 77 ] He besides had a base on Captiva Island. [ 78 ] In 1991, Lichtenstein began an matter with singer 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 wife Dorothy had an reason and they both had meaning others in accession to their marriage. Lichtenstein died of pneumonia on September 29, 1997 [ 21 ] at New York University Medical Center, where he had been hospitalized for several weeks, four weeks before his 74th birthday. [ 12 ] He was survived by his second wife, Dorothy Herzka, [ 80 ] and by his sons, David and Mitchell, from his first marriage .

relevance

Pop art continues to influence the twenty-first 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 early works of artwork lost in the World Trade Center attacks on September 11, 2001, a painting from Lichtenstein ‘s The Entablature Series was destroyed in the subsequent fuel. [ 81 ] His function Crying Girl was one of the artworks brought to animation 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 : paint and Sculpture of a Decade. ” In 1967, his first museum retrospective exhibition was held at the Pasadena Art Museum in California. The lapp year, his beginning 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 inaugural living artist to have a solo drawing exhibitions at the Museum of Modern Art from March – June 1987. [ 82 ] Recent retrospective surveys include the 2003 “ All About Art, ” Louisiana Museum of Modern Art, in Denmark ( which traveled on to the Hayward Gallery, London, Museo Reina Sofia, Madrid, [ 83 ] and the San Francisco Museum of Modern Art, until 2005 ) ; and “ Classic of the New ”, Kunsthaus Bregenz ( 2005 ), “ Roy Lichtenstein : Meditations on Art ” Museo Triennale, Milan ( 2010, traveled to the Museum Ludwig, Cologne ). In deep 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 Contemporary Arts, Turin. [ 87 ] 2018 : exhibition at The Tate Liverpool, Merseyside, United Kingdom .

Collections

In 1996 the National Gallery of Art in Washington, D.C. became the largest unmarried depository of the artist ‘s study when Lichtenstein donated 154 prints and 2 books. The Art Institute of Chicago has several authoritative works by Lichtenstein in its permanent collection, including Brushstroke with Spatter ( 1966 ) and Mirror No. 3 (Six Panels) ( 1971 ). The personal holdings of Lichtenstein ‘s widow, Dorothy Lichtenstein, and of the Roy Lichtenstein Foundation total 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 up slowly ( 1964 ) and Yellow and Green Brushstrokes ( 1966 ). Outside the United States and Europe, the National Gallery of Australia ‘s Kenneth Tyler Collection has across-the-board holdings of Lichtenstein ‘s prints, numbering over 300 works. In total there are some 4,500 works thought 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 ‘s board decided the benefits of authenticating were outweighed by the risks of drawn-out lawsuits. [ 89 ] In belated 2006, the foundation sent out a holiday card featuring a photograph of Electric Cord ( 1961 ), a painting that had been missing since 1970 after being sent out to art refinisher Daniel Goldreyer by the Leo Castelli Gallery. The card urged the populace to report any information about its whereabouts. [ 90 ] In 2012, the foundation authenticated the piece when it surfaced at a New York City warehouse. [ 91 ] between 2008 and 2012, following the death of photographer Harry Shunk in 2006, [ 92 ] the Lichtenstein Foundation acquired the collection of photographic corporeal changeable by Shunk and his János Kender adenine well as the photographers ‘ copyright. [ 93 ] In 2013, the foundation donated the Shunk-Kender treasure trove to five institutions – Getty Research Institute in Los Angeles ; the Museum of Modern 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 commercialize

Since the 1950s Lichtenstein ‘s cultivate has been exhibited in New York and elsewhere with Leo Castelli at his drift and at Castelli Graphics equally well as with Ileana Sonnabend in her gallery in Paris, and at the Ferus Gallery, Pace Gallery, Gagosian Gallery, Mitchell-Innes & Nash, Mary Boone, Brooke Alexander Gallery, Carlebach, Rosa Esman, Marilyn Pearl, James Goodman, John Heller, Blum Helman, Hirschl & Adler, Phyllis Kind, Getler Pall, Condon Riley, 65 Thompson Street, Holly Solomon, and Sperone Westwater Galleries among others. Leo Castelli Gallery represented Lichtenstein entirely since 1962, [ 12 ] when a solo prove 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 knead by Lichtenstein since 1996. [ 96 ] Big Painting No. 6 ( 1965 ) became the highest priced Lichtenstein work in 1970. [ 97 ] Like the integral Brushstrokes serial, the topic of the paint is the procedure of Abstract Expressionist painting via embroil brushstrokes and drips, but the consequence of Lichtenstein ‘s reduction that uses a Ben-Day scatter background is a representation of the mechanical/industrial color print reproduction. [ 98 ] Lichtenstein ‘s paint Torpedo … Los! ( 1963 ) sold at Christie ‘s for $ 5.5 million in 1989, a criminal record total at the time, making him one of lone three living artists to have attracted such huge sums. [ 72 ] In 2005, In the Car was sold for a then phonograph record $ 16.2m ( £10m ). In 2010, his cartoon-style 1964 paint Ohhh…Alright…, previously owned by Steve Martin and late by Steve Wynn, [ 99 ] was sold at a commemorate US $ 42.6m ( £26.7m ) at a sale at Christie ‘s in New York. [ 100 ] [ 101 ] Based on a 1961 William Overgard drawing for a Steve Roper cartoon floor, [ 102 ] Lichtenstein ‘s I Can See the Whole Room…and There’s Nobody in It! ( 1961 ) depicts a man looking through a fix in a door. It was sold by collector Courtney Sale Ross for $ 43 million, doubling its estimate, at Christie ‘s in New York City in 2011 ; the seller ‘s husband, Steve Ross had acquired it at auction in 1988 for $ 2.1 million. [ 103 ] The paint measures four-foot by four-foot and is in graphite and oil. [ 104 ] The comedian painting Sleeping Girl ( 1964 ) from the collection of Beatrice and Phillip Gersh established a newly Lichtenstein record $ 44.8 million 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 artwork refinisher for clean in January 1970, and never got it back. He died in 1999. In 2006, the Roy Lichtenstein Foundation published an trope of the paint on its vacation greeting menu 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 paint Woman with Flowered Hat set another record at $ 56.1 million as it was purchased by british jewelry maker Laurence Graff from American investor Ronald O. Perelman. [ 109 ] This was topped in 2015 by the sale of Nurse for 95.4 million dollars at a Christie ‘s auction. [ 110 ] In January 2017, Masterpiece was sold for $ 165 million. The proceeds of this sale will be used to create a fund for criminal judge reform. [ 9 ]

References

Citations

bibliography

further read

  • 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 Entertainment video, 1991
  • Roy Lichtenstein Interview with Melvyn Bragg video
  • Adelman, Bob (1999). Roy Lichtenstein’s ABC’s. Boston: Bulfinch Press. ISBN 978-0-8212-2591-2.
  • Waldman, Diane (1988) [1st Pub. 1970]. Roy Lichtenstein : Drawing and Prints. Secaucus, N.J.: Wellfleet Books. ISBN 978-1-55521-301-5.

biographic :
Works :
early :

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