James Rosenquist, ‘Wall Street Journal, Dinner Triangles (2nd State)’, 1978, Rago/Wright
Save
Save
View
View in room
Share
Share

James Rosenquist

Wall Street Journal, Dinner Triangles (2nd State), 1978

Etching and aquatint in colors
22 3/4 × 39 1/2 in
57.8 × 100.3 cm
Edition 36/78
.
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
About the work
RW
Rago/Wright
Medium
Signature
Signed, titled, dated and numbered
James Rosenquist
American, 1933–2017
Follow

Leading Pop artist James Rosenquist—who came to prominence among New York School figures like Roy Lichtenstein, Jasper Johns, Robert Rauschenberg, and Willem de Kooning—is well known for his large-scale, fragmented works that bring the visual language of commercial painting onto canvas (notably, from 1957-60, Rosenquist earned his living as a billboard painter). In his use of mass-produced goods and vernacular culture rendered in an anonymous style, Rosenquist's work recalls that of Andy Warhol, while his seemingly irrational, mysterious pictorial combinations owe a debt to Surrealism. His breakthrough work, the iconic F-111 (1965)—51 panels that total over 22 by 24 feet—juxtaposes an American fighter plane with a Firestone tire, garish orange tinned spaghetti, and a young girl under a hair dryer.

James Rosenquist, ‘Wall Street Journal, Dinner Triangles (2nd State)’, 1978, Rago/Wright
Save
Save
View
View in room
Share
Share
About the work
RW
Rago/Wright
Medium
Signature
Signed, titled, dated and numbered
James Rosenquist
American, 1933–2017
Follow

Leading Pop artist James Rosenquist—who came to prominence among New York School figures like Roy Lichtenstein, Jasper Johns, Robert Rauschenberg, and Willem de Kooning—is well known for his large-scale, fragmented works that bring the visual language of commercial painting onto canvas (notably, from 1957-60, Rosenquist earned his living as a billboard painter). In his use of mass-produced goods and vernacular culture rendered in an anonymous style, Rosenquist's work recalls that of Andy Warhol, while his seemingly irrational, mysterious pictorial combinations owe a debt to Surrealism. His breakthrough work, the iconic F-111 (1965)—51 panels that total over 22 by 24 feet—juxtaposes an American fighter plane with a Firestone tire, garish orange tinned spaghetti, and a young girl under a hair dryer.

James Rosenquist

Wall Street Journal, Dinner Triangles (2nd State), 1978

Etching and aquatint in colors
22 3/4 × 39 1/2 in
57.8 × 100.3 cm
Edition 36/78
.
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
More from this series
View series
Series by this artist
Other works by James Rosenquist