
Roy Lichtenstein
Jobs Not Cheese! Moffett for Senator, 1982
In 1977, Roy Lichtenstein entered his brief but impactful Surrealist period, finding inspiration in …

Signed and numbered out of 300 in pencil by Roy Lichtenstein. The poster was created for …

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.

In 1977, Roy Lichtenstein entered his brief but impactful Surrealist period, finding inspiration in the absurdist works of Salvador Dalí, Rene Magritte, Max Ernst, and Pablo Picasso. Lichtenstein’s carefully planned compositions and cartoon aesthetic couldn’t be more different from the instinctive, dreamlike practices …

Signed and numbered out of 300 in pencil by Roy Lichtenstein. The poster was created for Connecticut politician and Democrat Anthony John "Toby" Moffett's 1982 campaign against Republican Connecticut U.S. Senator Lowell Weicker. Lichtenstein created this in support of Moffettís senatorial run. The …

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.