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Dennis Pearson & Roy Lichtenstein"Turkey Pie-Roy Lichtenstein Homage, " Serigraph, Dennis Pearson & R Lichtenstein1964-1965
1964-1965
About the Item
"Turkey Pie - Roy Lichtenstein Homage" is an original serigraph by Roy Lichtenstein embellished by Dennis Pearson. This work is signed by both Lichtenstein and Pearson. It features Lichtenstein's turkey pie and Pearson's surrounding birds in various states of being cooked.
24" x 17" art
31" x 26" frame
Beastie designer Dennis Pearson was born on November 3, 1939 in Madison, Wisconsin. Pearson graduated from Madison West High School and later attended Milwaukee's Layton School of Art , now known as the Milwaukee Institute of Art and Design or MIAD today. There he focused on painting and printmaking, eventually earning his degree in Fine Arts in 1962.
As a student, he won first prize for painting in the Wisconsin Painters and Sculptors competition. He continued his education at the Pennsylvania Academy of Fine Arts and at the University of Wisconsin in Madison. While attending college he supported himself through his paintings. While in college, Pearson had one particular image that he consistently drew. He made many drawings of his unique, make-believe animals. He slowly developed this animal, experimenting the shape in different mediums including oil and water color paintings and eventually created a 3-D papier-mâché sculpture. With the help of Pearson's brother, who had a shop to repair Corvettes with fiberglass, the first beastie had been born. Pearson covered his papier-mâché creation in fiberglass, designing a durable and lightweight, loveable animal. He displayed his artwork at venues around Milwaukee, including the Milwaukee Art Museum's Lakefront Festival of the Arts. The Beastie's popularity grew and the rest is history.
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Roy Lichtenstein (1923 – 1997) was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art movement. His work defined the basic premise of pop art better than any other through parody. Favoring the comic strip as his main inspiration, Lichtenstein produced hard-edged, precise compositions that documented while it parodied often in a tongue-in-cheek humorous manner. His work was heavily influenced by both popular advertising and the comic book style. He described pop art as, "not 'American' painting but actually industrial painting". His paintings were exhibited at the Leo Castelli Gallery in New York City.
In 1960, he started teaching at Rutgers University where he was heavily influenced by Allan Kaprow, who was also a teacher at the university. This environment helped reignite his interest in Proto-pop imagery. In 1961, Lichtenstein began his first pop paintings using cartoon images and techniques derived from the appearance of commercial printing. This phase would continue to 1965, and included the use of advertising imagery suggesting consumerism and homemaking. His first work to feature the large-scale use of hard-edged figures and Ben-Day dots was Look Mickey (1961, National Gallery of Art, Washington, D.C.). This piece came from a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; "I bet you can't paint as good as that, eh, Dad?" In the same year he produced six other works with recognizable characters from gum wrappers and cartoons.
In 1961, Leo Castelli started displaying Lichtenstein's work at his gallery in New York. Lichtenstein had his first one-man show at the Castelli gallery in 1962; the entire collection was bought by influential collectors before the show even opened. A group of paintings produced between 1961-1962 focused on solitary household objects such as sneakers, hot dogs, and golf balls. In September 1963 he took a leave of absence from his teaching position at Douglass College at Rutgers.
It was at this time that Lichtenstein began to find fame not just in America but worldwide. He moved back to New York to be at the center of the art scene and resigned from Rutgers University in 1964 to concentrate on his painting. Lichtenstein used oil and Magna (early acrylic) paint in his best known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics' Secret Hearts #83. (Drowning Girl now hangs in the Museum of Modern Art, New York.) Drowning Girl also features thick outlines, bold colors and Ben-Day dots, as if created by photographic reproduction. Of his own work Lichtenstein would say that the Abstract Expressionists "put things down on the canvas and responded to what they had done, to the color positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock's or Kline's."
By the late 1960s, Lichtenstein had stopped using comic book sources. In the 1970s his focus turned to creating paintings that referred to the art of early 20th century masters like Picasso, Henri Matisse, Fernand Léger and Salvador Dalí. In the 1980s and '90s, he also painted representations of modern house interiors, brushstrokes and mirror reflections, all in his trademark, cartoon-like style. He also began working in sculpture.
In the 1980s, Lichtenstein received several major large-scale commissions, including a 25-foot-high sculpture titled "Brushstrokes in Flight" for the Port Columbus International Airport in Columbus, Ohio and a five-story-tall mural for the lobby of the Equitable Tower in New York.
Lichtenstein was committed to his art until the end of his life, often spending at least 10 hours a day in his studio. His work was acquired by major museum collections around the world, and he received numerous honorary degrees and awards, including the National Medal of Arts in 1995.
- Creator:Dennis Pearson & Roy Lichtenstein
- Creation Year:1964-1965
- Dimensions:Height: 31 in (78.74 cm)Width: 26 in (66.04 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Milwaukee, WI
- Reference Number:
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