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Paris Review Poster, 1966

Screenprint in colors on glossy white paper
Edition 135/150
This is part of a limited edition set.
Bidding closed
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About the work
Bibliography
Provenance
R
Rago

40" x 25.625" (sheet)

Printer: Chiron Press

40" x 25.625" (sheet)

Printer: Chiron Press

Signature
Signed and numbered 135/150
Publisher
The Paris Review, New York
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.

Save
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share
Share
Save
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share
Share
About the work
Bibliography
Provenance
R
Rago

40" x 25.625" (sheet)

Printer: Chiron Press

40" x 25.625" (sheet)

Printer: Chiron Press

Signature
Signed and numbered 135/150
Publisher
The Paris Review, New York
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.

Paris Review Poster, 1966

Screenprint in colors on glossy white paper
Edition 135/150
This is part of a limited edition set.
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
Other works by Roy Lichtenstein
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