Roy Lichtenstein
As I Opened Fire Triptych (Corlett App.5), 1964
Over the course of his career, Roy Lichtenstein designed 70 posters to promote music and film …
The complete set of three offset lithographs in colors, each on wove, 1966, from one of several …
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.
Over the course of his career, Roy Lichtenstein designed 70 posters to promote music and film festivals, political campaigns, nonprofit organizations, his own exhibitions, and more. Released in 1962, Lichtenstein’s first poster depicts a series of shaking hands, which celebrated his inaugural exhibition at the …
The complete set of three offset lithographs in colors, each on wove, 1966, from one of several editions of over 3,000 printed, published by the Stedelijk Museum, Amsterdam, the full sheets, with margins, each 638 x 525mm (25 1/8 x 20 5/8 inches. This triptych depicts the famous Roy Lichtenstein painting "As I …
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.
