Toll Free: (877) 871-9261
|
|
Toll Free: (877) 871-9261 |
|
|||||
| Gallery Artists | Historical Artwork | New Inventory | Staff Picks | Artwork Wanted | Contact Us | ||
|
Born into an upper-middle-class family on 27 October 1923 in New York City, he attended public school until 1935, when he was 12, before being enrolled into Franklin School for Boys, in Manhattan, for his secondary education. The academy did not have an art department, and he became interested in art and design as hobby outside of his schooling. He was an avid fan of jazz and often attended concerts at the Apollo Theater in Harlem. He would often draw portraits of the musicians at their instruments. During 1939, in his final year at the academy, he enrolled in summer art classes at the Art Students League of New York under the tutelage of Reginald Marsh. On graduating in 1940, Lichtenstein left New York to study at the Ohio State University which offered studio courses and a degree in fine arts. His studies were interrupted by a three year stint in the army during World War II between 1943 and 1946. He returned to his studies in Ohio after the war and one of his teachers at the time, Hoyt L. Sherman, is widely regarded to have had a significant impact on his future work (Lichtenstein would later name a new studio he funded at OSU as the Hoyt L. Sherman Studio Art Center). Lichtenstein entered the graduate program at Ohio State and was hired as an art instructor, a post he held on and off for the next ten years. In 1951 he had his first one-man exhibition at a gallery in New York. He moved to Cleveland in 1951, where he remained for six years, although frequently traveling to New York, doing jobs as various as draftsman to window decorator in between periods of painting. His work at this time was based on cubist interpretations of other artist's paintings such as Frederic Remington. In 1957 he moved back to upstate New York and began teaching again. It is at this time that he adopted the Abstract Expressionism style, a late convert to this style of painting; he showed his work in 1959 to an unenthusiastic audience. He began teaching at Rutgers University in 1960 where he was heavily influenced by Allan Kaprow, also a tutor at the University. His first work to feature the large scale use of hard edged figures and Benday Dots was Look Mickey (1961, Walker Art Center, Minneapolis, Minnesota}. In the same year he produced six other works with recognizable characters from gum wrappers or cartoons. In 1961 Leo Castelli started displaying Lichtenstein's work at his gallery in New York, and he had his first one man show at the gallery in 1962; the entire collection was bought by influential collectors of the time before the show even opened. Finally making enough money to live from his painting, he stopped teaching a year later. Using oil and Magna paint his best known works, such as Drowning Girl (1963, Museum of Modern Art, New York), feature thick outlines, bold colors and Benday Dots to represent certain colors, as if created by photographic reproduction. Rather than attempt to reproduce his subjects, his work tackles the way mass media portrays them. When his work was first released, many art critics of the time wrote about the originality. More often than not they were making no attempt to be positive. His most famous image is arguably Whaam! (1963, Tate Modern, London), one of the earliest known examples of pop art, featuring a fighter aircraft firing a rocket into an enemy plane with a dazzling red and yellow explosion. The cartoon style is heightened by the use of the onomatopoetic lettering "WHAAM!" and the boxed caption "I pressed the fire control... and ahead of me rockets blazed through the sky..." This diptych is large in scale, measuring 1.7 x 4.0 m (5 ft 7 in x 13 ft 4 in). Most of his best-known artworks are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965. (He would occasionally incorporate comics into his work in different ways in later decades.) These panels were originally drawn by lesser known comic book artists such as Russ Heath, Tony Abruzzo, Irv Novick, and Jerry Grandenetti, who rarely received any credit. Artist Dave Gibbons said of Lichtenstein's works: "Roy Lichtenstein's copies of the work of Irv Novick and Russ Heath are flat, uncomprehending tracings of quite sophisticated images." In response to complaints like that of Gibbons, Lichtenstein's obituary in The Economist noted these artists "did not think much of his paintings. In enlarging them, some claimed, they became static. Some threatened to sue him...But this is to miss the point of Roy Lichtenstein's achievement. His was the idea. The art of today, he told an interviewer, is all around us." During the seventies and eighties, his work began to loosen and expand on what he had done before. He produced a series of |
We are currently interested in purchasing or taking on consignment works of art by
Roy Lichtenstein
Price Codes:
All values in Canadian dollars. Add Roy Lichtenstein to your profile and receive first notice when new works come available. The prices paid for all sold works are confidential. For pricing details please give us a call at 1-877-871-9261. |
|||||||||||||||||||||||||||
