Roy Lichtenstein, ‘Haystack (a.k.a. “Yellow Haystack”)’, 1969, Verosa
Roy Lichtenstein, ‘Haystack (a.k.a. “Yellow Haystack”)’, 1969, Verosa
Roy Lichtenstein, ‘Haystack (a.k.a. “Yellow Haystack”)’, 1969, Verosa
Roy Lichtenstein, ‘Haystack (a.k.a. “Yellow Haystack”)’, 1969, Verosa
Roy Lichtenstein, ‘Haystack (a.k.a. “Yellow Haystack”)’, 1969, Verosa
Roy Lichtenstein, ‘Haystack (a.k.a. “Yellow Haystack”)’, 1969, Verosa

Blind stamp of the publisher (Gabriele Mazzotta Editore) lower right, watermark of the paper alongside the sheet (“CM FABRIANO 100/100 COTONE”)

Signature: Signed “rf Lichtenstein” and dated “ ‘69 “ lower left

Publisher: Gabriele Mazzotta Editore, Milan

Corlett, M.L. (2000) The Prints of Roy Lichtenstein: A Catalogue Raisonné 1948-1997, Hudson Hills Press Inc.
Reference:
Corlett 84, page 107.

Acquired by the previous owner directly from Gabriele Mazzotta Editore, Milan

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