Roy Lichtenstein, ‘Pistol’, 1964, Joseph K. Levene Fine Art, Ltd.

Signature: signed and numbered 'Roy Lichtenstein' (on a label affixed to the reverse)

Texas, Contemporary Art Museum, Banners, January-February 1965 (another example exhibited).
Ithaca, White Museum of Art, Cornell University, The Spring Festival of Contemporary Painting, April-May 1965 (another example exhibited). Highland Park Ravinia, The New Look in Art-Illusion, Object Motion, June-August 1965 (another example exhibited).
Washington, D.C., Corcoran Gallery, Op and Pop in Fabric, February 1966.
Cleveland Museum of Art, Works by Roy Lichtenstein, November-January 1967 (another example exhibited).
The Aldrich Museum of American Art, Selections from the Collection of Hanford Yang, September-December 1968, no. 57 (illustrated, another example exhibited).
Chicago, Museum of Contemporary Art, Violence in Recent American Art, November-January 1969 (another example exhibited).
Cleveland New Gallery, Roy Lichtenstein: Major Works-graphics-posters, February-March 1969 (another example exhibited).
Philadelphia Museum of Art, Multiples: The First Decade, March-April 1971 (another example exhibited).
Basel, Galerie Beyeler, Roy Lichtenstein, June-September 1973 (illustrated, another example exhibited).
New York, Ubu Gallery, The Gun: Icon of Twentieth Century Art, January-March 1996 (another example exhibited).
Long Beach, University Art Museum, California State University; New Brunswick, Voorhees Zimmerli Art Museum, Rutgers University; Baltimore Museum of Art; Montgomery Museum of Fine Arts; Minneapolis, Frederick R. Weisman Art Museum; San Antonio, Marion Koogler McNay Art Museum; Wichita Art Museum; Muskegon Museum of Art; Omaha, Joslyn Art Museum; Coral Gables, Lowe Art Museum; Toledo Museum of Art, The Great American Pop Art Store: Multiple of Sixties, August 1997-August 2000, no. 20 (illustrated, another example exhibited).
Madrid, Circulo de Bellas Artes; Salamanca, Domus Artium, An American Odyssey, 1945-1980: Debating Modernism, April 2004-January 2005 (illustrated, another example exhibited).
Rome, Scuderie del Quirinale; Milan, Silvana Editoriale Spa, Pop Art 1956-1968, October 2007-January 2008, p. 275 (illustrated, another example exhibited).
DePaul University Art Museum, Art and Politics in Chicago, September-November 2008, p. 64 (illustrated, another example exhibited).

J. Howard, "A Creative Capacity to Astonish," Life, 21 August 1964, no. 8, p. 42 (illustrated).
M. Amaya, Pop Art...And After, New York, 1966, p. 84 (illustrated). Roy Lichtenstein, exh. cat., Pasadena Art Museum, 1967, no. 54 (illustrated).
D. Waldman, Roy Lichtenstein, exh. cat., Solomon R. Guggenheim Museum, 1969, no. 106, p. 91 (illustrated).
D. Waldman, Roy Lichtenstein, exh.cat., Galerie Beyeler, Basel, 1971, pl. 131 (illustrated).
J. Cowart, Roy Lichtenstein 1970-1980, New York, 1981, p. 90 (illustrated).
J. Carlin, The Comic Art Show: Cartoons in Painting and Popular Culture, exh. cat., Whitney Museum of Art, New York, 1983, p. 69 (illustrated).

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