Roy Lichtenstein, ‘Reverie, from 11 Pop Artists, Volume II’, 1965, Phillips

Property from the Collection of Ambassador John L. Loeb, Jr.

Image: 27 1/16 x 22 15/16 in. (68.7 x 58.3 cm)
Sheet: 30 x 23 7/8 in. (76.2 x 60.6 cm)

Signed, dated and numbered 173/200 in pencil (there were also 50 proofs in Roman numerals and approximately 5 artist's proofs), published by Original Editions, New York, framed.

From the Catalogue:
Roy Lichtenstein might have considered this contribution to 1965’s 11 Pop Artists Portfolio to be his first Pop Art print. Without a doubt, Reverie, 1965 was also among the finest prints ever created during the postwar period. Amidst America's surging prosperity, Lichtenstein alchemized commercial printmaking’s saturated colors and serialized consumerism into an art that paid cultural currency to everyone. He had honed his printmaking since the 1950s and by 1960 a teaching position at Douglass Women’s College in New Jersey established his place among New York City’s ascendant artists. Emerging right out from the “funnies,” Lichtenstein's characters were witness to 1960s social upheaval as women took a place in the working world and civil rights were finally recognized. Jazz clubs on New York City's 52nd Street were the artist’s frequent haunts, which infused his social commentary with a rhythmic line as well as with those punchy thought-bubbles of energetic banality that he called “audioscriptions.” This electric blonde held a captive audience and her “haunted” song was America’s—the assassination of President John F. Kennedy’s in the years just prior was a moment of mourning that presaged this sensual crooner’s otherwise surprising melancholy.
Courtesy of Phillips

Mary Lee Corlett 38

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