Roy Lichtenstein, ‘Interior with Diana' (Study)’, Sotheby's

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

image: 4 1/2 by 5 1/2 in. 11.4 by 14 cm.
sheet: 8 by 8 7/8 in. 20.3 by 22.5 cm.

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From the Catalogue
BARBARALEE DIAMONSTEIN-SPIELVOGEL: Many critics have spoken of you as a classical artist. It is obvious that you have rigorous training in drawing. It is clear, too, that you know a great deal about the traditions of the history of art, even as you spoof them. Would you describe yourself as a classical artist?

ROY LICHTENSTEIN: I think you would have to call it classical if you were opposing it to romantic. Even just the style of it, where classical art tends to be more concerned with an edge and then filling in a color, whereas romantic art seems to make the color the shape itself, and the edges are the result of, and emergent of, the work. My feeling is more for romantic art. I mean, my preference would be for that. But there is something about what I do—because classical art usually seems to be more thought out beforehand. So I don't think you could possibly describe it as romantic. If you take the brush strokes I did, the brush stroke is a romantic gesture, a bravura gesture, and mine is drawn and filled in. It's a picture of a brush stroke—a classical rendition of a romantic idea.

Roy Lichtenstein and Barbaralee Diamonstein-Spielvogel, Inside the Art World: Conversations with Barbaralee Diamonstein, Rizzoli International Publications, Inc., New York, 1994, p. 162
—Courtesy of Sotheby's

Signature: signed and dated '97 on the reverse

Chicago, Richard Gray Gallery, Roy Lichtenstein, September 1997
Turin, Galleria Civica d'Arte Moderna e Contemporanea, Roy Lichtenstein: Opera Prima, September 2014 - January 2015, cat. no. 228, p. 227, illustrated in color

Richard Gray Gallery, Chicago
Acquired from the above by the present owner in September 1997

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

Group Shows

2016
2016
London,
New Tate Modern Switch House: Extension and Installation
2015
Miami,
Recent Acquisitions + Highlights from the MDC Permanent Art Collection