Roy Lichtenstein, ‘Brushstroke Chair and Ottoman’, 1986-1988, Wright
Roy Lichtenstein, ‘Brushstroke Chair and Ottoman’, 1986-1988, Wright
Roy Lichtenstein, ‘Brushstroke Chair and Ottoman’, 1986-1988, Wright
Roy Lichtenstein, ‘Brushstroke Chair and Ottoman’, 1986-1988, Wright
Roy Lichtenstein, ‘Brushstroke Chair and Ottoman’, 1986-1988, Wright
Roy Lichtenstein, ‘Brushstroke Chair and Ottoman’, 1986-1988, Wright

USA

Ottoman measures: 17.5 w x 24 d x 20.25 h inches.

These works are the bon à tirer aside from the edition of 12 published (only 4 of which were accompanied by ottomans) by Graphicsstudio, University of South Florida, Tampa. Signed to underside of ottoman and chair: [R. Lichtenstein B.A.T.]. Examples of the Brushstroke chair and ottoman are in the collection of the National Gallery in Washington D.C., the University of South Florida Contemporary Art Museum, and the Broad Collection in Los Angeles.

Roy Lichtenstein: Imperfect, 1988, Wetterling Gallery, Stockholm Roy Lichtenstein: New Prints and Sculpture from Graphicstudio, 1989, Wetterling Gallery, Stockholm

The Prints of Roy Lichtenstein: A Catalogue Raisonne 1948-1997, Corlett, pg. 39 Roy Lichtenstein: Imperfect, Wetterling Gallery exhibition catalog, illustrates this example Roy Lichtenstein: New Prints and Sculpture from Graphicstudio, Wetterling Gallery exhibition catalog, illustrates this example

Wetterling Gallery, Stockholm | Acquired in 1989 from the previous 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