
Roy Lichtenstein
Heland Thorden Gallery (Green Lamp), ca. 1990
Roy Lichtenstein began painting still lifes in 1972, putting a cartoon-inspired spin on the …

Artist: Roy Lichtenstein
Title: Heland Thorden Gallery (Green Lamp)
Year: circa 1990
Medium: …

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.

Roy Lichtenstein began painting still lifes in 1972, putting a cartoon-inspired spin on the centuries-old genre of portraying everyday objects in art. Lichtenstein, who was drawn to the art historical significance of the still life motif, filled his compositions with references to great artists of the past. In his …

Artist: Roy Lichtenstein
Title: Heland Thorden Gallery (Green Lamp)
Year: circa 1990
Medium: Poster
Paper Size: 27.5 x 33.5 inches
Frame: 33 x 38 inches

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.