Roy Lichtenstein, ‘A Bright Night' (Study)’, Sotheby's

Magnificent Gestures: Masterworks from The Diamonstein-Spielvogel Collection Full Proceeds to Benefit a Not-for-Profit Charitable Foundation

image: 3 1/2 by 4 1/4 in. 8.9 by 10.8 cm.
sheet: 9 1/8 by 6 3/8 in. 23.2 by 16.2 cm.

Guaranteed Property (see Conditions of Sale for further information)

From the Catalogue
"Lichtenstein's mastery of conceptual drawing—with its capacity for creating formal analogies among disparate, even antithetical, subjects, styles, and motifs—leads him now to an investigation of the style par excellence of analogy: Surrealism. Surrealism's penchant for ridding its objects of their conventional qualities through poetic and 'irrational' juxtaposition and metamorphic drawing of contours—and its rearrangement of those objects into a landscape fraught with associative meanings—provided Lichtenstein with a new associative model."
Bernice Rose in Exh. Cat., New York, Museum of Modern Art, The Drawings of Roy Lichtenstein, 1987, p. 43
—Courtesy of Sotheby's

Signature: signed and dated '77 on the reverse

New York, Mitchell-Innes & Nash, Roy Lichtenstein: Conversations with Surrealism, September - November 2005, p. 27, illustrated in color
Turin, Galleria Civica d'Arte Moderna e Contemporanea, Roy Lichtenstein: Opera Prima, September 2014 - January 2015, cat. no. 133, p. 128, illustrated in color

Leo Castelli Gallery, New York (LC# D-345)
Mitchell-Innes & Nash, New York
Acquired from the above by the present owner

About Roy Lichtenstein

When American Pop artist Roy Lichtenstein painted Look Mickey in 1961, it set the tone for his career. This primary-color portrait of the cartoon mouse introduced Lichtenstein’s detached and deadpan style at a time when introspective Abstract Expressionism reigned. Mining material from advertisements, comics, and the everyday, Lichtenstein brought what was then a great taboo—commercial art—into the gallery. He stressed the artificiality of his images by painting them as though they’d come from a commercial press, with the flat, single-color Ben-Day dots of the newspaper meticulously rendered by hand using paint and stencils. Later in his career, Lichtenstein extended his source material to art history, including the work of Claude Monet and Pablo Picasso, and experimented with three-dimensional works. Lichtenstein’s use of appropriated imagery has influenced artists such as Richard Prince, Jeff Koons, and Raymond Pettibon.

American, 1923-1997, New York, New York, based in New York and Southampton, New York