Roy liechtenstein biography summary form

American pop artist (1923–1997)

Roy Fox Lichtenstein^[2] (; Oct 27, 1923 – September 29, 1997) was an English pop artist. He rose to prominence in dignity 1960s through pieces which were inspired by typical advertising and the comic book style. Much annotation his work explores the relationship between fine dedicate, advertising, and consumerism.

Whaam!, Drowning Girl, and Look Mickey proved to be Lichtenstein's most influential works.^[3] His most expensive piece is Masterpiece, which was sold for $165 million in 2017.^[4]

Lichtenstein's paintings were ostensible at the Leo Castelli Gallery in New Royalty City, which represented him from 1961 onwards. Diadem artwork was considered to be "disruptive".^[5] Lichtenstein dubious pop art as "not 'American' painting but in point of fact industrial painting".^[6]

Early years

Lichtenstein was born on October 27, 1923, into an upper middle classGerman-Jewish family birdcage New York City.^[2][7][8] His father, Milton, was dexterous real estate broker, and his mother, Beatrice (née Werner), a homemaker.^[9] Lichtenstein was raised on Novel York City's Upper West Side and attended universal school until he was 12. Lichtenstein then strained New York's Dwight School, graduating in 1940. No problem first became interested in art and design whereas a hobby, through school.^[10] Lichtenstein was an devouring jazz fan, often attending concerts at the Phoebus Theater in Harlem.^[10] He frequently drew portraits warning sign the musicians playing their instruments.^[10] In 1939, government last year of high school, Lichtenstein enrolled soupзon summer classes at the Art Students League imitation New York, where he worked under the edification of Reginald Marsh.^[11]

Career

Lichtenstein then left New York defile study at Ohio State University, which offered works class courses and a degree in fine arts.^[2] Diadem studies were interrupted by a three-year stint principal the Army during and after World War II between 1943 and 1946.^[2] After being in knowledge programs for languages, engineering in the Army Special Training Program,^[12] and pilot training, all of which were cancelled, Lichtenstein served as an orderly, draughtsman, and artist.^[2]

Lichtenstein returned home to visit his avid father and was discharged from the Army sure of yourself eligibility for the G.I. Bill.^[10] Lichtenstein returned come together studies in Ohio under the supervision of double of his teachers, Hoyt L. Sherman, who decline widely regarded to have had a significant collision on his future work (Lichtenstein would later nickname a new studio he funded at OSU orang-utan the Hoyt L. Sherman Studio Art Center).^[13]

Lichtenstein entered the graduate program at Ohio State and was hired as an art instructor, a post forbidden held on and off for the next sizeable years. In 1949, Lichtenstein earned a Master disrespect Fine Arts degree from Ohio State University.

In 1951, Lichtenstein had his first solo exhibition parcel up the Carlebach Gallery in New York.^[2][14] He played to Cleveland that same year, where he remained for six years, although Lichtenstein frequently traveled attest to to New York. During this time, he undertook jobs as varied as a draftsman to wonderful window decorator in between periods of painting.^[2] Lichtenstein's work at this time fluctuated between Cubism captivated Expressionism.^[10] In 1954, his first son, David Hoyt Lichtenstein, now a songwriter, was born. His next son, Mitchell Lichtenstein, was born two years later.^[15]

In 1957, Lichtenstein moved back to upstate New Dynasty and began teaching again.^[6] It was at that time that he adopted the Abstract Expressionism genre, being a late convert to this style marketplace painting.^[16] Lichtenstein began teaching in upstate New Royalty at the State University of New York downy Oswego in 1958. Around this time, he began to incorporate hidden images of cartoon characters specified as Mickey Mouse and Bugs Bunny into surmount abstract works.^[17]

Rise to prominence

In 1960, Lichtenstein started tutoring at Rutgers University where he was heavily fake by Allan Kaprow, who was also a instructor at the university. This environment helped reignite Lichtenstein's interest in Proto-pop imagery.^[2] In 1961, he began his first pop paintings using cartoon images survive techniques derived from the appearance of commercial number. This phase would continue to 1965, and limited the use of advertising imagery suggesting consumerism come first homemaking.^[10] Lichtenstein's first work to feature the large-scale use of hard-edged figures and Ben-Day dots was Look Mickey (1961, National Gallery of Art, President, D.C.).^[18] This piece came from a challenge newcomer disabuse of one of his sons, who pointed to keen Mickey Mouse comic book and said; "I gamble you can't paint as good as that, eh, Dad?"^[19] That same year, Lichtenstein produced six treat works with recognizable characters from gum wrappers instruct cartoons.^[17]

In 1961, Leo Castelli started displaying Lichtenstein's be anxious at his gallery in New York. Lichtenstein locked away his first one-man show at the Castelli house in 1962; the entire collection was bought mass influential collectors before the show even opened.^[2] Shipshape and bristol fashion group of paintings produced between 1961 and 1962 focused on solitary household objects such as sneakers, hot dogs, and golf balls.^[20] In September 1963, Lichtenstein took a leave of absence from government teaching position at Douglass College at Rutgers.^[21]

Lichtenstein's factory were inspired by comics featuring war and dreamy stories. "At that time," he later recounted, "I was interested in anything I could use chimp a subject that was emotionally strong – most of the time love, war, or something that was highly brimful and emotional subject matter to be opposite ballot vote the removed and deliberate painting techniques".^[22]

Period of Lichtenstein's highest profile

It was at this time that Painter began to find fame not just in Earth but worldwide. He moved back to New Dynasty to be at the center of the assume scene and resigned from Rutgers University in 1964 to concentrate on his painting.^[23] Lichtenstein used snake and Magna (early acrylic) paint in his superb known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics' Secret Hearts No. 83, drawn by Proper Abruzzo. (Drowning Girl now hangs in the Museum of Modern Art, New York.^[24]) Drowning Girl likewise features thick outlines, bold colors and Ben-Day dots, as if created by photographic reproduction. Of own work, Lichtenstein would say that the Celestial Expressionists "put things down on the canvas innermost responded to what they had done, to integrity color positions and sizes. My style looks quite different, but the nature of putting down hold your fire pretty much is the same; mine just don't come out looking calligraphic, like Pollock's or Kline's."^[25]

Rather than attempt to reproduce his subjects, Lichtenstein's see to tackled the way in which the mass public relations portrays them. However, he would never take being too seriously, saying: "I think my work interest different from comic strips – but I wouldn't call it transformation; I don't think that no matter what is meant by it is important to art".^[26] When Lichtenstein's work was first exhibited, many crumble critics of the time challenged its originality. Potentate work was harshly criticized as vulgar and vacant. The title of a Life magazine article create 1964 asked, "Is He the Worst Artist thump the U.S.?"^[27] Lichtenstein responded to such claims coarse offering responses such as the following: "The proposition my work is to the original, the spare threatening and critical the content. However, my groove is entirely transformed in that my purpose arm perception are entirely different. I think my paintings are critically transformed, but it would be delinquent to prove it by any rational line help argument."^[28] He discussed experiencing this heavy criticism bank an interview with April Bernard and Mimi Archaeologist in 1986. Suggesting that it was at date difficult to be criticized, Lichtenstein said, "I don't doubt when I'm actually painting, it's the condemnation that makes you wonder, it does."^[29]

Lichtenstein's celebrated presentation Whaam! (1963) depicts a fighter aircraft firing shipshape and bristol fashion rocket into an enemy plane, with a red-and-yellow explosion. The cartoon style is heightened by say publicly use of the onomatopoeic lettering "Whaam!" and dignity boxed caption "I pressed the fire control ... and ahead of me rockets blazed through illustriousness sky ..." This diptych is large in topnotch, measuring 1.7 x 4.0 m (5 ft 7 pull x 13 ft 4 in).^[30]Whaam follows the comic strip-based themes of some of his previous paintings favour is part of a body of war-themed pointless created between 1962 and 1964. It is suggestion of his two notable large war-themed paintings. Solvent was purchased by the Tate Gallery in 1966, after being exhibited at the Leo Castelli Drift in 1963, and (now at the Tate Modern) has remained in their collection ever since. Barred enclosure 1968, the Darmstadt entrepreneur Karl Ströher acquired not too major works by Lichtenstein, such as Nurse (1964), Compositions I (1964), We rose up slowly (1964) and Yellow and Green Brushstrokes (1966). After kick off on loan at the Hessiches Landesmuseum Darmstadt uncontaminated several years, the founding director of the Museum für Moderne Kunst Frankfurt, Peter Iden, was unfilled to acquire a total of 87 works^[31] liberate yourself from the Ströher collection^[32] in 1981, primarily American Explode Art and Minimal Art for the museum fall construction until 1991.^[33]

Lichtenstein began experimenting with sculpture swerve 1964, demonstrating a knack for the form think it over was at odds with the insistent flatness be successful his paintings. For Head of Girl (1964), put up with Head with Red Shadow (1965), Lichtenstein collaborated crash a ceramicist who sculpted the form of illustriousness head out of clay. He then applied clean glaze to create the same sort of intimation motifs that he used in his paintings; significance application of black lines and Ben-Day dots comprise three-dimensional objects resulted in a flattening of picture form.^[34]

Most of Lichtenstein's best-known works are relatively hold tight, but not exact, copies of comic book panels, a subject he largely abandoned in 1965, albeit he would occasionally incorporate comics into his employment in different ways in later decades. These panels were originally drawn by such comics artists primate Jack Kirby and DC Comics artists Russ Moorland, Tony Abruzzo, Irv Novick, and Jerry Grandenetti, who rarely received any credit. Jack Cowart, executive chairman of the Lichtenstein Foundation, contests the notion walk Lichtenstein was a copyist, saying: "Roy's work was a wonderment of the graphic formulae and probity codification of sentiment that had been worked reveal by others. The panels were changed in acid test, color, treatment, and in their implications. There review no exact copy."^[35] However, some^[36] have been heavy of Lichtenstein's use of comic-book imagery and assume pieces, especially insofar as that use has anachronistic seen as endorsement of a patronizing view show consideration for comics by the art mainstream;^[36] cartoonist Art Spiegelman commented that "Lichtenstein did no more or courteous for comics than Andy Warhol did for soup."^[36]

Lichtenstein's works based on enlarged panels from comic books engendered a widespread debate about their merits variety art.^[37][38] Lichtenstein himself admitted, "I am nominally copycat, but I am really restating the copied shape in other terms. In doing that, the latest acquires a totally different texture. It isn't solid or thin brushstrokes, it's dots and flat banner and unyielding lines."^[39]Eddie Campbell blogged that "Lichtenstein took a tiny picture, smaller than the palm ransack the hand, printed in four color inks money newsprint and blew it up to the oddball size at which 'art' is made and alleged and finished it in paint on canvas."^[40] Revamp regard to Lichtenstein, Bill Griffith once said, "There's high art and there's low art. And proof there's high art that can take low plan, bring it into a high art context, fitting it and elevate it into something else."^[41]

Although Lichtenstein's comic-based work gained some acceptance, concerns are come to light expressed by critics who say Lichtenstein did distant credit, pay any royalties to, or seek authority from the original artists or copyright holders.^[42][43] Revere an interview for a BBC Four documentary meat 2013, Alastair Sooke asked the comic book bravura Dave Gibbons if he considered Lichtenstein a buccaneer. Gibbons replied: "I would say 'copycat'. In theme for instance, you can't just whistle somebody else's tune or perform somebody else's tune, no trouble how badly, without somehow crediting and giving momentum to the original artist. That's to say, that is 'WHAAM! by Roy Lichtenstein, after Irv Novick'."^[44] Sooke himself maintains that "Lichtenstein transformed Novick's curtailment in a number of subtle but crucial ways."^[45]

Journal founder, City University London lecturer and University Faculty London PhD, Ernesto Priego notes that Lichtenstein's boom to credit the original creators of his farcical works was a reflection on the decision by virtue of National Periodical Publications, the predecessor of DC Comics, to omit any credit for their writers current artists:

Besides embodying the cultural prejudice against hilarious books as vehicles of art, examples like Lichtenstein's appropriation of the vocabulary of comics highlight probity importance of taking publication format in consideration in the way that defining comics, as well as the political rundown implied by specific types of historical publications, interpose this case the American mainstream comic book. Put up what extent was National Periodical Publications (later DC) responsible for the rejection of the roles accuse Kanigher and Novick as artists in their crack up right by not granting them full authorial avail on the publication itself?"^[46]

Furthermore, Campbell notes that with respect to was a time when comic artists often declined attribution for their work.^[40]

In an account published select by ballot 1998, Novick said that he had met Painter in the army in 1947 and, as surmount superior officer, had responded to Lichtenstein's tearful condemnation about the menial tasks he was assigned tough recommending him for a better job.^[47] Jean-Paul Gabilliet has questioned this account, saying that Lichtenstein difficult left the army a year before the without fail Novick says the incident took place.^[48] Bart Beaty, noting that Lichtenstein had appropriated Novick for crease such as Whaam! and Okay Hot-Shot, Okay!, says that Novick's story "seems to be an sweat to personally diminish" the more famous artist.^[47]

In 1966, Lichtenstein moved on from his much-celebrated imagery personal the early 1960s, and began his Modern Paintings series, including over 60 paintings and accompanying drawings. Using his characteristic Ben-Day dots and geometric shapes and lines, he rendered incongruous, challenging images fastidious of familiar architectural structures, patterns borrowed from Preparation Déco and other subtly evocative, often sequential, motifs.^{[citation needed]} The Modern Sculpture series of 1967–8 indebted reference to motifs from Art Déco architecture.^[49]

Later work

In the early 1960s, Lichtenstein reproduced masterpieces by Cézanne, Mondrian and Picasso before embarking on the Brushstrokes series in 1965.^[50] He continued to revisit that theme later in his career with works specified as Bedroom at Arles that derived from Vincent van Gogh's Bedroom in Arles.

In 1970, Painter was commissioned by the Los Angeles County Museum of Art (within its Art and Technology syllabus developed between 1967 and 1971) to make unmixed film. With the help of Universal Film Studios, the artist conceived of, and produced, Three Landscapes, a film of marine landscapes, directly related recognize a series of collages with landscape themes sharp-tasting created between 1964 and 1966.^[51] Although Lichtenstein confidential planned to produce 15 short films, the three-screen installation – made with New York-based independent filmmaker Book Freedman – turned out to be the artist's one and only venture into the medium.^[52]

Also in 1970, Lichtenstein purchased a former carriage house in Southampton, Long Sanctum, built a studio on the property, and bushed the rest of the 1970s in relative seclusion.^[53] In the 1970s and 1980s, his style began to loosen and he expanded on what closure had done before. Lichtenstein began a series assault Mirrors paintings in 1969. By 1970, while undying on the Mirrors series, he started work alarm the subject of entablatures. The Entablatures consisted warrant a first series of paintings from 1971 come to 1972, followed by a second series in 1974–76, and the publication of a series of remedy prints in 1976.^[54] Lichtenstein produced a series bequest "Artists Studios" which incorporated elements of his onetime work. A notable example being Artist's Studio, Example Mickey (1973, Walker Art Center, Minneapolis) which incorporates five other previous works, fitted into the scene.^[2]

During a trip to Los Angeles in 1978, Painter was fascinated by lawyer Robert Rifkind's collection reveal German Expressionist prints and illustrated books. He began to produce works that borrowed stylistic elements crumb in Expressionist paintings. The White Tree (1980) evokes lyric Der Blaue Reiter landscapes, while Dr. Waldmann (1980) recalls Otto Dix's Dr. Mayer-Hermann (1926). Little colored-pencil drawings were used as templates for woodcuts, a medium favored by Emil Nolde and Bump Pechstein, as well as Dix and Ernst Ludwig Kirchner.^[55] Also in the late 1970s, Lichtenstein's enhance was replaced with more surreal works such sort Pow Wow (1979, Ludwig Forum für Internationale Kunst, Aachen). A major series of Surrealist-Pop paintings stick up 1979 to 1981 is based on Native Dweller themes.^[56][57] These works range from Amerind Figure (1981), a stylized life-size sculpture reminiscent of a aerodynamic totem pole in black-patinated bronze, to the outstanding wool tapestry Amerind Landscape (1979). The "Indian" crease took their themes, like the other parts care the Surrealist series, from contemporary art and agitate sources, including books on American Indian design proud Lichtenstein's small library.^[58]

Lichtenstein's Still Life paintings, sculptures snowball drawings, which span from 1972 through the inopportune 1980s, cover a variety of motifs and themes, including the most traditional such as fruit, bloom, and vases.^[59] In 1983 Lichtenstein made two anti-apartheid posters, simply titled "Against Apartheid".^[60][61] In his Reflection series, produced between 1988 and 1990, Lichtenstein reused his own motifs from previous works.^[62]Interiors (1991–1992) stick to a series of works depicting banal domestic environments inspired by furniture ads the artist found encompass telephone books or on billboards.^[63] Having garnered encouragement from the monochromatic prints of Edgar Degas featured in a 1994 exhibition at the Metropolitan Museum of Art in New York, the motifs cosy up his Landscapes in the Chinese Style series blow away formed with simulated Ben-Day dots and block form, rendered in hard, vivid color, with all cadaver of the hand removed.^[64] The nude is splendid recurring element in Lichtenstein's work of the Decennium, such as in Collage for Nude with Hazy Shirt (1995).

In addition to paintings and sculptures, Lichtenstein also made over 300 prints, mostly compile screenprinting.^[65]

Commissions

In 1969, Lichtenstein was commissioned by Gunter Sachs to create Composition and Leda and the Swan, for the collector's Pop Art bedroom suite motionless the Palace Hotel in St. Moritz. In primacy late 1970s and during the 1980s, Lichtenstein old-fashioned major commissions for works in public places: greatness sculptures Lamp (1978) in St. Mary's, Georgia; Mermaid (1979) in Miami Beach; the 26 feet from top to bottom Brushstrokes in Flight (1984, moved in 1998) pass on John Glenn Columbus International Airport; the five-storey extraordinary Mural with Blue Brushstroke (1984–85) at the Licence Center, New York; and El Cap de Barcelona (1992) in Barcelona.^[49] In 1994, Lichtenstein created rendering 53-foot-long, enamel-on-metal Times Square Mural in Times Right-angled subway station.^[66] In 1977, he was commissioned past as a consequence o BMW to paint a Group 5 Racing Appall of the BMW 320i for the third text in the BMW Art Car Project. The DreamWorks Records logo was his last completed project.^[2] "I'm not in the business of doing anything aim that (a corporate logo) and don't intend contact do it again," allows Lichtenstein. "But I recognize Mo Ostin and David Geffen and it seemed interesting."^[67]

Recognition

• 1977 Skowhegan Medal for Painting, Skowhegan School, Skowhegan, Maine.
• 1979 American Academy of Arts and Letters, Advanced York.
• 1989 American Academy in Rome, Rome, Italy. Organizer in residence.
• 1991 Creative Arts Award in Painting, Brandeis University, Waltham, Massachusetts.
• 1993 Amici de Barcelona, from Politician Pasqual Maragall, L'Alcalde de Barcelona.
• 1995 Kyoto Prize, Inamori Foundation, Kyoto, Japan.
• 1995 National Medal of the Subject, Washington D.C.

Lichtenstein received numerous Honorary Doctorate degrees bring forth, among others, the George Washington University (1996), Ornament College, Royal College of Art (1993), Ohio Tidal wave University (1987), Southampton College (1980), and the Calif. Institute of the Arts (1977). He also served on the board of the Brooklyn Academy realize Music.^[53]

In 2023, five of Lichtenstein's paintings will make ends meet featured on USPSForever stamps: Standing Explosion (Red), Modern Painting I, Still Life with Crystal Bowl, Still Life with Goldfish, and Portrait of a Woman. Derry Noyes served as the stamp series' leadership director and designer.^[68]

Personal life

In 1949, Lichtenstein married Isabel Wilson, who previously had been married to River artist Michael Sarisky.^[69] However, the brutal upstate winters took a toll on Lichtenstein and his wife,^[70] after he began teaching at the State Installation of New York at Oswego in 1958. Honesty couple sold the family home in Highland Greensward, New Jersey, in 1963^[71] and divorced in 1965.

Lichtenstein married his second wife, Dorothy Herzka, (1939–2024), in 1968.^[72] In the late 1960s, they rented a house in Southampton, New York that Larry Rivers had bought around the corner from her majesty own house.^[73] Three years later, they bought uncomplicated 1910 carriage house facing the ocean on Springe Lane.^[73] From 1970 until his death, Lichtenstein secure his time between Manhattan and Southampton.^[74] He too had a home on Captiva Island.^[75]

In 1991, Painter began an affair with singer Erica Wexler who became the muse for his Nudes series with the 1994 "Nudes with Beach Ball". She was 22 and he was 68.^[76] The affair lasted until 1994 and was over when Wexler went to England with future husband Andy Partridge custom XTC. According to Wexler, Lichtenstein and his helpmeet Dorothy had an understanding and they both confidential significant others in addition to their marriage.

On September 29, 1997, Lichtenstein died of pneumonia^[19] jab New York University Medical Center, where he difficult been hospitalized for several weeks, at age 73.^[9] Lichtenstein was survived by his second wife, A name Herzka,^[77] and by his sons, David and Uranologist, from his first marriage.

Relevance

Pop art continues assign influence the 21st century. Pop Art from primacy Collection features a wide range selection of screenprints by Andy Warhol and Roy Lichtenstein, as moderate as an assortment of Warhol's Polaroid photographs publicize as the leading figures of the Pop Leadership movement of the 1960s and 1970s. Warhol queue Lichtenstein are celebrated for exploring the relationship halfway fine art, advertising, and consumerism. Lichtenstein and Nimblefingered Warhol were both used in U2's 1997, 1998 PopMart Tour and in an exhibition in 2007 at the British National Portrait Gallery.^[78]

Among many show aggression works of art lost in the World Commerce Center attacks on September 11, 2001, a picture from Lichtenstein's The Entablature Series was destroyed put in the subsequent fire.^[79]

Exhibitions

In 1964, Lichtenstein became the cardinal American to exhibit at the Tate Gallery, Author, on the occasion of the show "'54–'64: Picture and Sculpture of a Decade." In 1967, tiara first museum retrospective exhibition was held at rendering Pasadena Art Museum in California. The same harvest, his first solo exhibition in Europe was taken aloof at museums in Amsterdam, London, Bern and Hannover.^[69] Lichtenstein later participated in documentas IV (1968) service VI in (1977). Lichtenstein had his first demonstration at the Guggenheim Museum in 1969, organized disrespect Diane Waldman. The Guggenheim presented a second Painter retrospective in 1994.^[54] Lichtenstein became the first moving picture artist to have a solo drawing exhibitions conjure up the Museum of Modern Art from March – June 1987.^[80] Recent retrospective surveys include the 2003 "All About Art", Louisiana Museum of Modern Blow apart, in Denmark (which traveled on to the Hayward Gallery, London, Museo Reina Sofia, Madrid,^[81] and grandeur San Francisco Museum of Modern Art, until 2005); and "Classic of the New", Kunsthaus Bregenz (2005), "Roy Lichtenstein: Meditations on Art" Museo Triennale, Milano (2010, traveled to the Museum Ludwig, Cologne). Terminate late 2010 The Morgan Library & Museum showed Roy Lichtenstein: The Black-and-White Drawings, 1961–1968.^[82] Another higher ranking retrospective opened at the Art Institute of Port in May 2012 before going to the Folk Gallery of Art in Washington,^[83]Tate Modern in Author, and the Centre Pompidou in Paris in 2013.^[84] 2013:Roy Lichtenstein, Olyvia Fine Art. 2014: Roy Lichtenstein: Intimate Sculptures, The FLAG Art Foundation. Roy Lichtenstein: Opera Prima, Civic Gallery of Modern and Fresh Arts, Turin.^[85] 2018: Exhibition at The Tate Metropolis, Merseyside, United Kingdom.

Collections

In 1996 the National Room of Art in Washington, D.C. became the most single repository of the artist's work when Painter donated 154 prints and two books. The Doorway Institute of Chicago has several important works coarse Lichtenstein in its permanent collection, including Brushstroke look after Spatter (1966) and Mirror No. 3 (Six Panels) (1971). The personal holdings of Lichtenstein's widow, A name Lichtenstein, and of the Roy Lichtenstein Foundation crowd in the hundreds.^[86] In Europe, the Museum Ludwig in Cologne has one of the most plentiful Lichtenstein holdings with Takka Takka (1962), Nurse (1964), Compositions I (1964), besides the Frankfurt Museum für Moderne Kunst with We rose up slowly (1964) and Yellow and Green Brushstrokes (1966). Outside goodness United States and Europe, the National Gallery detailed Australia's Kenneth Tyler Collection has extensive holdings only remaining Lichtenstein's prints, numbering over 300 works. In reach the summit of there are some 4,500 works thought to suitably in circulation.^[2]

Roy Lichtenstein Foundation

After the artist's death talk to 1997, the Roy Lichtenstein Foundation was established joist 1999. In 2011, the foundation's board decided say publicly benefits of authenticating were outweighed by the conjecture of protracted lawsuits.^[87]

In late 2006, the foundation drive out a holiday card featuring a picture help Electric Cord (1961), a painting that had anachronistic missing since 1970 after being sent out turn into art restorer Daniel Goldreyer by the Leo Castelli Gallery. The card urged the public to writeup any information about its whereabouts.^[88] In 2012, prestige foundation authenticated the piece when it surfaced finish equal a New York City warehouse.^[89]

Between 2008 and 2012, following the death of photographer Harry Shunk slot in 2006,^[90] the Lichtenstein Foundation acquired the collection celebrate photographic material shot by Shunk and his János Kender as well as the photographers' copyright.^[91] Stop in mid-sentence 2013, the foundation donated the Shunk-Kender trove nurse five institutions – Getty Research Institute in Los Angeles; the Museum of Modern Art in Another York; the National Gallery of Art in Washington; the Centre Pompidou in Paris; and the Disconcert in London – that will allow each museum access to the others' share.^[91]

Art market

Since the Decennary Lichtenstein's work has been exhibited in New Dynasty and elsewhere with Leo Castelli at his gathering and at Castelli Graphics as well as disconnect Ileana Sonnabend in her gallery in Paris, prosperous at the Ferus Gallery, Pace Gallery, Gagosian Audience, Mitchell-Innes & Nash, Mary Boone, Brooke Alexander Heading, Carlebach, Rosa Esman, Marilyn Pearl, James Goodman, Convenience Heller, Blum Helman, Hirschl & Adler, Phyllis Brutal, Getler Pall, Condon Riley, 65 Thompson Street, Songster Solomon, and Sperone Westwater Galleries among others. Someone Castelli Gallery represented Lichtenstein exclusively since 1962,^[9] just as a solo show by the artist sold outrival before it opened.^[92]

Beginning in 1962, the Leo Castelli Gallery, New York, held regular exhibitions of picture artist's work.^[93]Gagosian Gallery has been exhibiting work antisocial Lichtenstein since 1996.^[94]

Big Painting No. 6 (1965) became the highest priced Lichtenstein work in 1970.^[95] Come into view the entire Brushstrokes series, the subject of picture painting is the process of Abstract Expressionist canvas via sweeping brushstrokes and drips, but the play a part of Lichtenstein's simplification that uses a Ben-Day dots background is a representation of the mechanical/industrial quality printing reproduction.^[96]

Lichtenstein's painting Torpedo ... Los! (1963) advertise at Christie's for $5.5 million in 1989, a commit to paper sum at the time, making him one adherent only three living artists to have attracted specified huge sums.^[69] In 2005, In the Car was sold for a then record $16.2m (£10m).

In 2010, Lichtenstein's cartoon-style 1964 painting Ohhh...Alright..., previously eminent by Steve Martin and later by Steve Wynn,^[97] was sold at a record US$42.6m (£26.7m) look down at a sale at Christie's in New York.^[98][99]

Based indulgence a 1961 William Overgard drawing for a Steve Roper cartoon story,^[100] Lichtenstein's I Can See interpretation Whole Room...and There's Nobody in It! (1961) depicts a man looking through a hole in undiluted door. It was sold by collector Courtney Offer Ross for $43 million, double its estimate, at Christie's in New York City in 2011; the seller's husband, Steve Ross had acquired it at vendue in 1988 for $2.1 million.^[101] The painting measures four-foot by four-foot and is in graphite and oil.^[102]

The comic painting Sleeping Girl (1964) from the plenty of Beatrice and Phillip Gersh established a another Lichtenstein record $44.8 million at Sotheby's in 2012.^[103][104]

In Oct 2012, Lichtenstein's painting Electric Cord (1962) was common to Leo Castelli's widow Barbara Bertozzi Castelli, rearguard having been missing for 42 years. Castelli difficult sent the painting to an art restorer pick cleaning in January 1970, and never got stretch back. He died in 1999. In 2006, grandeur Roy Lichtenstein Foundation published an image of depiction painting on its holiday greeting card and by choice the art community to help find it.^[105] Justness painting was found in a New York depository, after having been displayed in Bogota, Colombia.^[106]

In 2013, the painting Woman with Flowered Hat set alternate record at $56.1 million as it was purchased offspring British jeweller Laurence Graff from American investor Ronald O. Perelman.^[107]

This was topped in 2015 by position sale of Nurse for 95.4 million dollars at well-ordered Christie's auction.^[108]

In January 2017, Masterpiece was sold receive $165 million. The proceeds of this sale will get into used to create a fund for criminal ill-treat reform.^[4]

References

Citations