Roy Lichtenstein - posters, prints and serigraphs



"Roy Lichtenstein was the master of the stereotype, and the most sophisticated of the major Pop artists in terms of his analysis of visual convention and his ironic exploitation of past styles. The work for which he is now known was the product of a long apprenticeship. "He was born in New York City in October 1923. His parents were middle-class and he described himself as having had a quiet and uneventful childhood. Though art was not taught as part of the curriculum at his high school, in his junior year he started to draw and paint as a hobby. His first subjects were jazz musicians (the product of a youthful enthusiasm for their music), and his work was affected by Picasso's Blue and Rose Period paintings, which he knew from reproductions. "In his last year of high school, 1939, he enrolled for summer art classes at the Art Students' League under Reginald Marsh. His subject-matter was then strongly influenced by Marsh's own work. On his graduation from high school, Lichtenstein decided to leave New York and study art. He went to the School of Fine Arts at Ohio State University, but his artistic education was interrupted by the war. He was drafted in 1943 and served in Britain and continental Europe. During his time in the services he was able to do some work as an artist, particularly drawing from nature. Demobilized in 1946, he returned immediately to Ohio State University and gained his Bachelor of Fine Art in June. He then joined the graduate programme, as an instructor. In 1949 he gained his Master of Fine Art and held his first one-man exhibition at the Ten Thirty Gallery in Cleveland. At this time he started to introduce broad references to Americana in his work: in 1951 he had a show in New York consisting largely of assemblages made of found objects. He moved to Cleveland and worked on and off as an engineering draughtsman for various companies while continuing to paint and intermittently show his work in New York. His earliest proto-Pop work was painted in 1956 - a picture of a dollar bill - but it had no immediate successor. From 1957 until 1960 his work could, broadly speaking, be classified as Abstract Expressionist; he had previously passed through Geometric Abstraction and a version of Cubism. "In 1960 Lichtenstein was appointed Assistant Professor at Douglas College at Rutgers University of New Jersey, which put him within striking distance of New York. He met and had long discussions with Allan Kaprow, and he also met Claes Oldenburg, Jim Dine, Lucas Samaras and George Segal. He attended a number of early 'Happenings', but did not participate in them actively. These contacts revived his interest in Pop imagery, and a more immediate stimulus was provided by a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; 'I bet you can't paint as good as that.' In 1961 Lichtenstein produced about six paintings showing characters from comic-strip frames, with only minor changes of colour and form from the original source material. It was at this time that he first made use of devices which were to become signatures in his work - Ben-Day dots, lettering and speech balloons. "Lichtenstein took in his comic-strip paintings unannounced to the new Leo Castelli Gallery, and was almost immediately accepted for exhibition there, in preference to Andy Warhol, who had started doing similar work. His first one-man show with Castelli in 1962 launched him on a career which was thereafter uniformly successful. In 1963 he moved from New Jersey to New York, having taken leave of absence from his job at Rutgers; in 1964 he resigned from teaching altogether. In 1966 he showed at the Venice Biennale, and in 1969 he was given a retrospective at the Guggenheim Museum, which later toured America. He was elected to the American Academy of Arts and Sciences in 1970, and then moved to Southampton, Long Island, thus following a pattern set by many successful American artists. "Lichtenstein's development as a mature painter was marked by his propensity for working in successive series or thematic groups. The later groups tended to be interpretations and to some extent parodies of earlier Modernist styles - Cubism, Futurism and Surrealism. In the early 1980s Lichtenstein created sculptural maquettes constructed from flat shapes as three-dimensional graphic imitations of German Expressionist woodcuts. These, like his series of painted or sculpted brushstrokes of the 1980s, painstakingly created an ironic suggestion of spontaneity. In the late 1980s and early 1990s he returned to the use of Ben-Day dots in a new and refined application of his earlier style. Roy Lichtenstein died in September 1997." - From "Lives of the Great 20th-Century Artists", by Edward Lucie-Smith Further reading on Roy Lichtenstein Roy Lichtenstein, by Janis Hendrickson. From Taschen, excellent reproductions and text at a bargain price. Roy Lichtenstein's ABC. Lichtenstein - the PERFECT artist to create an illustrated ABC book for kids...and adults. Roy Lichtenstein, by Diane Waldman. The catalog to the blockbuster retrospective held at the Guggenheim Museum The Art of Roy Lichtenstein: Mural With Blue Brushstroke. Photographs of Lichtenstein in action. Pop Art "The term first appeared in Britain during the 1950s and referred to the interest of a number of artists in the images of mass media, advertising, comics and consumer products. The 1950s were a period of optimism in Britain following the end of war-time rationing, and a consumer boom took place. Influenced by the art seen in Eduardo Paolozzi's 1953 exhibition Parallel between Art and Life at the Institute for Contemporary Arts, and by American artists such as Jasper Johns and Robert Rauschenberg, British artists such as Richard Hamilton and the Independent Group aimed at broadening taste into more popular, less academic art. Hamilton helped organize the 'Man, Machine, and Motion' exhibition in 1955, and 'This is Tomorrow' with its landmark image Just What is it that makes today's home so different, so appealing? (1956). Pop Art therefore coincided with the youth and pop music phenomenon of the 1950s and '60s, and became very much a part of the image of fashionable, 'swinging' London. Peter Blake, for example, designed album covers for Elvis Presley and the Beatles and placed film stars such as Brigitte Bardot in his pictures in the same way that Warhol was immortalizing Marilyn Monroe in the USA. Pop art came in a number of waves, but all its adherents - Joe Trilson, Richard Smith, Peter Phillips, David Hockney and R.B. Kitaj - shared some interest in the urban, consumer, modern experience." From "The Bulfinch Guide to Art History" Further reading on Pop Art: Pop Art (Phaidon Colour Library), by Jamie James Pop Art: A Critical History (The Documents of Twentieth-Century Art) , by Steven Henry Madoff. Pop-Art Postcard Book Popism: The Warhol '60s, by Andy Warhol Roy Lichtenstien was born in New York in 1923. Creative from the get go, the first specialty school which he attended for art was the Art Students' League, New York, where he studied under Reginald Marsh from 1939- 1940. Moving on to college, Roy Studied at Ohio State University (Columbus Ohio) between 1949 and 1951. His work drew resemblance to one of his idols Hoyt L. Sherman. Between his studies he was deployed to Europe for military service. But returned to Ohio State and received his B.F.A in 1946 and subsequently his M.F.A in 1949. With M.F.A in hand, Roy moved out of his abstract impressionist phase, and began to venture out on his own. He acted on the side to make some extra money, as a good percentage of artists at the time di as well. He began teaching, first at the State University of New York at Oswego, and then Douglass Campus of Rutgers University in New Jersey. His first one-man exhibition comes in 1951 at the Carlebach Gallery in New York.. In the spring and summer of 1961 He produces some of the works for which he is most critically acclaimed. He begins to use comics/ cartoons as subject matter, which makes the viewer think more thoroughly about what it was to be American at the time. Pieces such as "Aloha" 1962 demonstrate the process of Lichtenstien flattening his work.. This, however, does not mean the pieces become simpler, and less complex. By the end of the Sixties, Lichtenstien had moved on slightly. Although he will never truly move away from the style he has spearheaded, he will change subject matter quite frequently. A series of paintings including "Yellow & Green Brushstrokes" moved away from the media of comics, and leans slightly more towards abstraction. Although much controversy surrounded the "Pop Art" movement in general, Lichtenstien was rather well received by the public. Unlike peers such as Warhol, Lichtenstien enjoyed the publics support. He used a technique known as "Benday Dots". It gave the appearance of a mechanical reproduction on a large scale that meant to reflect the medium from which he was inspired, such as comic strips, newspapers, and the yellow pages. In 1993, a major retrospective of his work was held at the Metropolitan Museum of Art in New York. When asked about his art Lichtenstien said "I think of it as an ironic look at and use of what is usually called vulgar art. It's using those symbols to make something else. It's really the art we have around us, we're not living in a world of impressionist painting." Roy Lichtenstien died in 1997 at the age of 74. Roy Lichtenstein 1923-1997

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Drowning Girl by Roy Lichtenstein 47x56 Fine-Art Print Sandwich and Soda, 1964 by Roy Lichtenstein 14x11 Fine-Art Print Whaam ! by Roy Lichtenstein 24x32 Fine-Art Print Whaam ! by Roy Lichtenstein 24x32 Fine-Art Print Blam by Roy Lichtenstein 30x24 Fine-Art Pr Girl by Roy Lichtenstein 16x20 Fine-Art Print Woman in Bath by Roy Lichtenstein 24x31 Fine-Art Print Modern Painting of Sun Rays, 1967 by Roy Lichtenstein 40x30 Fine-Art Print Spray, 1962 by Roy Lichtenstein 32x24 Fine-Art Print Washing Machine by Roy Lichtenstein 30x24 Fine-Art Print Kiss V (serigraph) by Roy Lichtenstein 35x36 Fine-Art Print Thinking of Him by Roy Lichtenstein 30x24 Fine-Art Print M...Maybe, 1965 (serigraph) by Roy Lichtenstein 39x55 Fine-Art Print Girl with a Beach Ball by Roy Lichtenstein 20x37 Fine-Art Print Interior with Waterlilies by Roy Lichtenstein 32x24 Fine-Art Print Thinking of Him by Roy Lichtenstein 26x27 Fine-Art Print Blam by Roy Lichtenstein 30x27 Fine-Art Print Medallion (serigraph) by Roy Lichtenstein 29x29 Fine-Art Print Washing Machine by Roy Lichtenstein 27x24 Fine-Art Print 1962 Blam 1962 Takka Takka 1963 In the Car 1963 Whaam! 1964 Temple of Apollo 1972 Bananas & Grapefruit #1 1972 Still Life with Goldfish Bowl and Painting of a Golf Ball 1972 Still Life with Glass and Peeled Lemon 1972 Still Life with Silver Pitcher 1973 Still Life with Crystal Bowl 1974 Cubist Still Life with Playing Cards 1976 Still Life with Lamp 1976 Still Life with Folded Sheets 1979 Go for Baroque 1979 Dr. Waldmann 1980 Jar and Apples 1983 Painting Near Window
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