Roy Lichtenstein, ‘Red Horseman (Racing Jockeys)’, 20th Century, Lions Gallery
Roy Lichtenstein, ‘Red Horseman (Racing Jockeys)’, 20th Century, Lions Gallery
Roy Lichtenstein, ‘Red Horseman (Racing Jockeys)’, 20th Century, Lions Gallery

This is a pencil signed offset lithograph in colors. it is a beautiful piece in nice condition. I have not examined it outside of frame. It can be from Leo Costelli or from the Los Angeles Olympics. the frame might need replacing.
The outside of the frame measures 29X36 and the sight (the inside of the mat) is 28X21 inches

Pop art artist, Roy Lichtenstein Born October 27,1923 in New York City Two of the most mentioned influences being the scenes from Coney Island and the jazz clubs in Harlem.

At the age of 14 in 1937 Lichtenstein begins watercolor classes at the Parson’s School of Design in New York. This threw him into the circle and then under the tutelage of Reginald Marsh at the Art Students League and was soon followed by enrollment into a Fine Arts Program at Ohio state University from 1940-1942. Here he studied with Hoyt L. Sherman. In the 1950’s began a long career of solo exhibits. In 1956 he produces his first lithograph “Ten Dollar Bill” and soon begins teaching at the Douglass College, Rutgers University. Until 1957 he worked as a commercial artist and designer and did display work for shop windows. His paintings and drawings at this time were parodies of American twenties' art, e.g. Remington's cowboy-and-Indian scenes. From 1957 to 1960 he taught at New York State University, Oswego, New York. His work passed through a non-representational, Abstract-Expressionist phase. In 1960 he became acquainted with Allan Kaprow and Claes Oldenburg. With this social circle comes an introduction to Robert Whitmen, Lucas Samaras, and George Segal. His life can be characterized by his numerous pieces as followed by his many admirers’. As he grew in acquaintance and popularity he is coined more and more with Pop Art being categorized with Andy Warhol.

Of his career some of his solo exhibits include: 1951 Carlebach Gallery, New York; 1952 Art Colony Galleries, Cleveland, Ohio; 1952 John Heller Gallery, New York; Leo Castelli Gallery, New York; 1963 Galerie Ileana Sonnaend, Paris; 1963 Ferus Gallery, Los Angeles; 1964Cleveland Museum of Art, Cleveland; 1967 Pasadena Art Museum. Additional venue: Walker Art Center, Minneapolis; 1967 Amsterdam. Additional venues: Tate Gallery, London; Kunsthalle Bern; Kester-gesellschaft, Hannover; 1967 Walker Art Center, Minneapolis; 1967 Leo Castelli Gallery, New York; 1967 Irving Blum Gallery, Los Angeles; 1968 The Contemporary Arts Center, Cincinnati; 1968 The Tate Gallery, London; Bern; 1968 Stedelijk Museum, Amsterdam; 1969 Solomon R. Guggenheim Museum, New York.

Many of his pieces are found in private collections or museums such as: the Arkansas Arts Center, Phoenix art Museum, The University of Arizona Museum of Art, San Francisco Museum of Modern Art, Denver Art Museum, Yale University Art Gallery, Hirshorn Museum and Sculpture Garden, National Gallery of Art, National Portrait Gallery, Smithsonian American art Museum, Lowe Art Museum, Orlando Museum of art, The John and Mable Ringling Museum of art, Museum of Fine Arts, High Museum of Art, Michael C Carlos Museum, Wallrof Richartz Museum, Gallery of Modern Art, Tate Gallery, Fogg Art Musuem – Harvard University art Museums, and Miami Art Museum.

Condition: Good

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