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James Rosenquist
Flame out for Pablo collage by James Rosenquist Picasso

1973

About the Item

In 1972 the Propylaen Verlag, Berlin approached Petersburg Press asking if some of the artists we were working with would contribute a print to the Hommage à Picasso portfolio they were preparing as a tribute to Picasso on his 90th birthday. These included Rosenquist, Oldenburg, Dine, Hockney, Stella and Richard Hamilton. The portfolio included 60 artists, mostly from Europe and the United States. Rosenquist drew plates for his lithograph Flame Out for Picasso 1973 in our studio in London where it was printed. This unique collage was made at that time, playing around with color combinations and mark-making. The collage incorporates two plates from the edition. This collage features a plate printed in purple and one in red, with a Chinese character which translates to "triangle" to the left. The character on the right translates to "ten thousand." The image field to the left is cut and pasted and includes oil pastel and collaged elements: the oil pastel pencils are particularly delightful. The profile on the left looks like the Lady Liberty seen on some vintage silver dollars. James Rosenquist Flame out for Pablo 1973 Collage, lithograph, and oil pastel on Arches paper 30 x 22 in / 76 x 56 cm Signed Rosenquist and dated 1973 with pencil lower right, titled lower left.

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In 1972 the Propylaen Verlag, Berlin approached Petersburg Press asking if some of the artists we were working with would contribute a print to the Hommage à Picasso portfolio they w...
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This large Allen Jones lithograph is printed exuberantly in primary colors. A swath of bright red brushstrokes represents the side of a bus. In the upper left, small windows reveal the passengers: a woman’s face is cut off above her vampy red lips, and a blue-haired man’s face is hidden. Royal blue fills the upper right corner of the composition, giving the impression of looking up at a passing bus against the cloudless sky. One can imagine Jones was thinking of the iconic red double decker bus the AEC Routemaster, first introduced in London in 1954. In the 1960s buses were a living symbol of familiar and new technology coexisting: as David Bucken put it, “In and around London a midpoint change on a journey might involve alighting from an RT bus, of which production had started just prior to World War II, and getting on one of the sexy new Routemasters.” In the artist’s words: “The whole problem as a figurative artist was that it was going against the main march of modernism, which was towards abstraction. But here was a way of making the subject you were painting the same as the object you were painting on. By making the canvas a rhomboid, and putting little wheels on it, you have a schematic version of a vehicle, in this case a London bus.” Jones plays with the space between abstraction and figuration: windowed passengers, elaborated with just a few lines and placed adjacent to a weighty red ground of brushstrokes, easily convey the form of a bus, yet the print also conveys Jones’ visceral, painterly delight in color play. Four color lithograph on wove paper Paper 28.5 x 42.5 / 72.4 X 108 cm Wood frame 31 x 46 x 2 in. / 78.75 x 117 x 5 cm with 1 in. moulding Signed by the artist lower right in pencil, labeled Trial Proof lower left in pencil. Edition 20. Printed at Tamarind Los Angeles with Clifford Smith...
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