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Merton of the Movies (Corlett 61), 1968

Screenprint in colours on silver foil
29 9/10 × 20 in
76 × 50.9 cm
Edition of 450
This is part of a limited edition set.
Bidding closed
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About the work
FA
Forum Auctions

Signed in pencil, numbered from the edition of 450, on foil coated wove paper, the full sheet …

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Signed in pencil, numbered from the edition of 450, on foil coated wove paper, the full sheet printed the edges, sheet 760 x 509 mm (30 x 20 in).

Roy Lichtenstein
American, 1923–1997
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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.

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About the work
FA
Forum Auctions

Signed in pencil, numbered from the edition of 450, on foil coated wove paper, the full sheet …

Read more

Signed in pencil, numbered from the edition of 450, on foil coated wove paper, the full sheet printed the edges, sheet 760 x 509 mm (30 x 20 in).

Roy Lichtenstein
American, 1923–1997
Follow

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.

Merton of the Movies (Corlett 61), 1968

Screenprint in colours on silver foil
29 9/10 × 20 in
76 × 50.9 cm
Edition of 450
This is part of a limited edition set.
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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