Roy Lichtenstein
Reflection on a Girl, 1990
Over the course of his career, Roy Lichtenstein designed 70 posters to promote music and film …
Roy Lichtenstein (1923-1997) American artist - "Reflections on Girl" (1990.) Roy …
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.
Over the course of his career, Roy Lichtenstein designed 70 posters to promote music and film festivals, political campaigns, nonprofit organizations, his own exhibitions, and more. Released in 1962, Lichtenstein’s first poster depicts a series of shaking hands, which celebrated his inaugural exhibition at the …
Roy Lichtenstein (1923-1997) American artist - "Reflections on Girl" (1990.) Roy Lichtenstein’s objective for his Reflections series of prints was to partially obscure the images with reflective streaks, as if behind glass or reflected by a mirror. Hand signed offset lithograph for Galerie Beyeler …
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.
