LaurieAnnie's photos with the keyword: RoyLichtenstein

Roy Lichtenstein. American, 1923-1997. Galatea 1990 Painted and patinated bronze Accession # 2003.597 Text from the Metropolitan Museum of Art label.

Roy Lichtenstein. American, 1923-1997. Galatea 1990 Painted and patinated bronze Accession # 2003.597 Text from the Metropolitan Museum of Art label.

Roy Lichtenstein (American, 1923–1997) Stepping Out, 1978 Oil and magna on canvas; 86 x 70 in. (218.4 x 177.8 cm) Purchase, Lila Acheson Wallace Gift, Arthur Hoppock Hearn Fund, Arthur Lejwa Fund in honor of Jean Arp; and The Bernhill Fund, Joseph H. Hazen Foundation Inc., Samuel I. Newhouse Foundation Inc., Walter Bareiss, Marie Bannon McHenry, Louise Smith, and Stephen C. Swid Gifts, 1980 (1980.420) To many people, Roy Lichtenstein's paintings based on comic strips are synonymous with Pop Art. These depictions of characters in tense, dramatic situations are intended as ironic commentaries on modern man's plight, in which mass media — magazines, advertisements, and television — shapes everything, even our emotions. Lichtenstein also based paintings on well-known masterpieces of art, perhaps commenting, as did Andy Warhol in his "Mona Lisa," on the conversion of art into commodity. Like Warhol, Lichtenstein, who had an art-school background, also worked as a commercial artist and graphic designer (1951–57), an experience that influenced the subject matter of his later paintings. Lichtenstein's fame as a Pop artist began with his first one-man exhibition, at the Leo Castelli Gallery in New York in 1962, and continued to characterize his career throughout his life. "Stepping Out" is marked by Lichtenstein's customary restriction to the primary colors and to black and white; by his thick black outlines; and by the absence of any shading except that provided by the dots imitating those used to print comic strips. Yet beneath the simplicity of means and commonplace subject matter lies a sophisticated art founded on a great deal of knowledge and skill. Lichtenstein here depicts a man and woman, side by side, both quite dapperly dressed. The male is based on a figure in Fernand Léger's painting "Three Musicians" of 1944 (Museum of Modern Art, New York), but seen in mirror image. He wears a straw hat, high-collared shirt, and striped tie; the flower in his lapel is borrowed from another Léger painting. The female figure, with her dramatically reduced and displaced features, resembles the Surrealistic women depicted by Picasso during the 1930s. Her face has been reduced to a single eye set on its side, a mouth, and a long lock of cascading blond hair. The composition of "Stepping Out" is complex and rather elaborate. The figures, while quite different in appearance and style of dress, are united through shape and color: the sweeping curve of the woman's hair is answered by the curve of her companion's lapel; the diagonal yellow of the end of her scarf is echoed in the yellow rectangle that covers the top of his face; the red Benday dots cover half of both faces; and the black that serves as background for the man invades the area behind the woman. Text from: www.metmuseum.org/Works_of_Art/collection_database/modern... ['Stepping_out', 'Stepping_out']/objectview.aspx?OID=210002332&collID=21&dd1=21

Roy Lichtenstein (American, 1923–1997) Stepping Out, 1978 Oil and magna on canvas; 86 x 70 in. (218.4 x 177.8 cm) Purchase, Lila Acheson Wallace Gift, Arthur Hoppock Hearn Fund, Arthur Lejwa Fund in honor of Jean Arp; and The Bernhill Fund, Joseph H. Hazen Foundation Inc., Samuel I. Newhouse Foundation Inc., Walter Bareiss, Marie Bannon McHenry, Louise Smith, and Stephen C. Swid Gifts, 1980 (1980.420) To many people, Roy Lichtenstein's paintings based on comic strips are synonymous with Pop Art. These depictions of characters in tense, dramatic situations are intended as ironic commentaries on modern man's plight, in which mass media — magazines, advertisements, and television — shapes everything, even our emotions. Lichtenstein also based paintings on well-known masterpieces of art, perhaps commenting, as did Andy Warhol in his "Mona Lisa," on the conversion of art into commodity. Like Warhol, Lichtenstein, who had an art-school background, also worked as a commercial artist and graphic designer (1951–57), an experience that influenced the subject matter of his later paintings. Lichtenstein's fame as a Pop artist began with his first one-man exhibition, at the Leo Castelli Gallery in New York in 1962, and continued to characterize his career throughout his life. "Stepping Out" is marked by Lichtenstein's customary restriction to the primary colors and to black and white; by his thick black outlines; and by the absence of any shading except that provided by the dots imitating those used to print comic strips. Yet beneath the simplicity of means and commonplace subject matter lies a sophisticated art founded on a great deal of knowledge and skill. Lichtenstein here depicts a man and woman, side by side, both quite dapperly dressed. The male is based on a figure in Fernand Léger's painting "Three Musicians" of 1944 (Museum of Modern Art, New York), but seen in mirror image. He wears a straw hat, high-collared shirt, and striped tie; the flower in his lapel is borrowed from another Léger painting. The female figure, with her dramatically reduced and displaced features, resembles the Surrealistic women depicted by Picasso during the 1930s. Her face has been reduced to a single eye set on its side, a mouth, and a long lock of cascading blond hair. The composition of "Stepping Out" is complex and rather elaborate. The figures, while quite different in appearance and style of dress, are united through shape and color: the sweeping curve of the woman's hair is answered by the curve of her companion's lapel; the diagonal yellow of the end of her scarf is echoed in the yellow rectangle that covers the top of his face; the red Benday dots cover half of both faces; and the black that serves as background for the man invades the area behind the woman. Text from: www.metmuseum.org/Works_of_Art/collection_database/modern... ['Stepping_out', 'Stepping_out']/objectview.aspx?OID=210002332&collID=21&dd1=21

Roy Lichtenstein. American, 1923-1997 Reverie (from 11 Pop Artists portfolio, vol. 2, 1966), 1965 Screenprint, 195/200 Accession # 2007.49.562d Comic-book inspired pictures made with flat primary colors and Benday dots have made Lichtenstein's work synonymous with Pop Art since the early 1960s. Like Warhol, he had experience as a commercial artist and graphic designer, which contributed to the "authentic" mass-media look of his prints and his paintings on canvas. With his characteristic sense of irony, Lichtenstein depicts an overwrought damsel singing about lost love in a dialogue bubble. As social commentary, it makes us question the pervasive role of the media– magazines, television, and advertisements– in shaping our emotional expectations. Text from the Metropolitan Museum of Art label.

Roy Lichtenstein (artist) American, 1923 - 1997 House I, model 1996, fabricated 1998 fabricated and painted aluminum overall: 292.1 x 447 x 132.1 cm (115 x 176 x 52 in.) gross weight: 1900 lb. Gift of The Morris and Gwendolyn Cafritz Foundation 1998.147.1 Text from: www.nga.gov/fcgi-bin/tinfo_f?object=107761

Roy Lichtenstein (artist) American, 1923 - 1997 House I, model 1996, fabricated 1998 fabricated and painted aluminum overall: 292.1 x 447 x 132.1 cm (115 x 176 x 52 in.) gross weight: 1900 lb. Gift of The Morris and Gwendolyn Cafritz Foundation 1998.147.1 Text from: www.nga.gov/fcgi-bin/tinfo_f?object=107761

Roy Lichtenstein (artist) American, 1923 - 1997 House I, model 1996, fabricated 1998 fabricated and painted aluminum overall: 292.1 x 447 x 132.1 cm (115 x 176 x 52 in.) gross weight: 1900 lb. Gift of The Morris and Gwendolyn Cafritz Foundation 1998.147.1 Text from: www.nga.gov/fcgi-bin/tinfo_f?object=107761

Roy Lichtenstein (artist) American, 1923 - 1997 House I, model 1996, fabricated 1998 fabricated and painted aluminum overall: 292.1 x 447 x 132.1 cm (115 x 176 x 52 in.) gross weight: 1900 lb. Gift of The Morris and Gwendolyn Cafritz Foundation 1998.147.1 Text from: www.nga.gov/fcgi-bin/tinfo_f?object=107761

Roy Lichtenstein (artist) American, 1923 - 1997 Look Mickey, 1961 oil on canvas overall: 121.9 x 175.3 cm (48 x 69 in.) framed: 123.5 x 176.9 x 5.1 cm (48 5/8 x 69 5/8 x 2 in.) Dorothy and Roy Lichtenstein, Gift of the Artist, in Honor of the 50th Anniversary of the National Gallery of Art 1990.41.1 One of the key figures in the history of so-called pop art, Roy Lichtenstein shared with his contemporary Andy Warhol a fascination for the visual languages of printed mass media and consumer culture during the 1960s. Lichtenstein was especially preoccupied with cheap newspaper advertising and cartoon or comic book illustration, which he enlarged and transposed—making subtle alterations—directly into paint on canvas. At the time the simplistic narratives and boldly graphic visual mannerisms of comics and advertising were understood to resist the powerful postwar legacy of abstract expressionist painting—the highly subjective processes and grand claims for psychic content that characterized the work of Jackson Pollock, Mark Rothko, Willem de Kooning, and other New York School artists whose achievement had recently placed American art at the center of a world stage. Substituting the banalities of resolutely flat printed commercial imagery in black, white, red, yellow, and blue for layered, complex, rarefied efforts in large-scale abstraction, pop art, by implication, also challenged the conventional hierarchies of visual "art." Widely recognized as Lichtenstein's first painting to employ cartoon imagery, Look Mickey shows a scene adapted from the 1960 children's book Donald Duck Lost and Found. In Lichtenstein's transformation of the storybook illustration, the composition is simplified and rendered in the bold outlines and primary colors of a mass-produced image, making it appear even more "pop" than the original picture. Text from: www.nga.gov/fcgi-bin/tinfo_f?object=71479

Roy Lichtenstein (artist) American, 1923 - 1997 Look Mickey, 1961 oil on canvas overall: 121.9 x 175.3 cm (48 x 69 in.) framed: 123.5 x 176.9 x 5.1 cm (48 5/8 x 69 5/8 x 2 in.) Dorothy and Roy Lichtenstein, Gift of the Artist, in Honor of the 50th Anniversary of the National Gallery of Art 1990.41.1 One of the key figures in the history of so-called pop art, Roy Lichtenstein shared with his contemporary Andy Warhol a fascination for the visual languages of printed mass media and consumer culture during the 1960s. Lichtenstein was especially preoccupied with cheap newspaper advertising and cartoon or comic book illustration, which he enlarged and transposed—making subtle alterations—directly into paint on canvas. At the time the simplistic narratives and boldly graphic visual mannerisms of comics and advertising were understood to resist the powerful postwar legacy of abstract expressionist painting—the highly subjective processes and grand claims for psychic content that characterized the work of Jackson Pollock, Mark Rothko, Willem de Kooning, and other New York School artists whose achievement had recently placed American art at the center of a world stage. Substituting the banalities of resolutely flat printed commercial imagery in black, white, red, yellow, and blue for layered, complex, rarefied efforts in large-scale abstraction, pop art, by implication, also challenged the conventional hierarchies of visual "art." Widely recognized as Lichtenstein's first painting to employ cartoon imagery, Look Mickey shows a scene adapted from the 1960 children's book Donald Duck Lost and Found. In Lichtenstein's transformation of the storybook illustration, the composition is simplified and rendered in the bold outlines and primary colors of a mass-produced image, making it appear even more "pop" than the original picture. Text from: www.nga.gov/fcgi-bin/tinfo_f?object=71479

Lichtenstein, Roy, Imperfect Diptych [from the Imperfect Series], 1988, Woodcut, screen print, and collage on museum board; overall: 57 7/8 in x 97 3/4 in; 147.0025 cm x 248.285 cm. Gift of Sidney Stolz and David Hatfield, 2009. Works on Paper, 2009.005.0001, American. Text from the Phillips Collection website.

Roy Lichtenstein. (American, 1923-1997). Girl with Ball. 1961. Oil and synthetic polymer paint on canvas, 60 1/4 x 36 1/4" (153 x 91.9 cm). Gift of Philip Johnson. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 238 Lichtenstein took the image for Girl with Ball straight from an advertisement, for a hotel in the Pocono Mountains. In pirating the image, however, he transformed it, submitting the ad's photograph to the techniques of the comic-strip artist and printer—and transforming those techniques, too, into a painter's versions of them. The resulting simplifications intensify the artifice of the picture, curdling its careful dream of fun in the sun. The girl's rounded mouth is more doll-like than female; any sex appeal she had has become as plastic as her beach ball. In choosing the banal subject matter of paintings like Girl with Ball, Lichtenstein challenged the aesthetic orthodoxy of the time, still permeated by the spiritual and conceptual ambitions of Abstract Expressionism. The moral seriousness of art, and art's longevity, seemed foreign to this cheap, transient ad from the consumer marketplace, a sector of roiling turnover. Startling though the image was as an artwork, in fact, as advertising it was already old-fashioned—so that Lichtenstein's painting admits of a certain nostalgia. His simulation of printing similarly robs the technology of the polish it had already achieved: overstating the dots of the Benday process, and limiting his palette to primary colors, he exaggerates the limitations of mechanical reproduction, which becomes as much the subject of the painting as the girl herself. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Roy Lichtenstein. (American, 1923-1997). Tire. 1962. Oil on canvas, 68 x 58" (172.7 x 147.3 cm). Fractional gift of Mr. and Mrs. Donald G. Fisher in honor of Kirk Varnedoe Gallery label text 2007 In the early 1960s Lichtenstein found a rich source of imagery in advertisements and comic strips. Reacting against the introspection of the Abstract Expressionist painters of the previous generation, he adopted the vocabulary of American consumer and popular culture and the impersonal look of mechanical reproduction. Tire is one of the artists many early black–and–white, single–object paintings of an ordinary commercial product. The prosaic tire, magnified, takes on the emblematic authority of an icon. Formally, the paintings impact depends on the complex interplay between the graphically rendered realism of a generic industrial object and the geometric form of the tire suspended in a void. Text from: www.moma.org/collection/browse_results.php?object_id=82377