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James RosenquistStar Leg (2nd State)1979
1979
$1,800
£1,348.28
€1,558.54
CA$2,527.77
A$2,753.15
CHF 1,457.14
MX$33,685.60
NOK 18,031
SEK 17,020.15
DKK 11,632.57
About the Item
Artist: James Rosenquist (1933-2017)
Title: Star Leg (2nd state)
Year: 1979
Medium: 1 color etching
Edition: 78, plus proofs
Sheet Size: 22.75 x 40 inches
Plate size: 17.75 x 35.5 inches
Workshop: Aripeka Ltd., Editions
Printer: Charles Levine
Condition: Good
Signed and numbered by the artist.
This large color etching is immediately recognizable as the work of James Rosenquist (1933-2017). It is in very good condition. There are some barely visible creases in the margins. The creases on the bottom edge go slightly into the image. I am not certain how the creases got there. They are barely visible. It is possible they were part of the printing process because such a large plate was used on relatively soft paper. Please see close up pictures.
James Rosenquist (November 29, 1933 – March 31, 2017) became well known in the 1960s as a leading American Pop artist alongside contemporaries Andy Warhol, Roy Lichtenstein, Claes Oldenburg, and other figurative artists. As with his contemporaries, Rosenquist’s background in commercial art deeply influenced his nascent fine-art career and radically changed the face of the art world and the annals of art history. While each Pop artist developed a distinct style, there were commonalities in their approaches to image-making that helped define the Pop art movement in the early 1960s: the use of commercial art techniques, and the depiction of popular imagery and everyday objects.
Drawing on his early experience as a billboard painter, Rosenquist culled imagery from print advertisements, photographs, and popular periodicals and recombined these to create mysterious and bold compositions. Utilizing the visual language of advertising, described by the late American curator Walter Hopps as "visual poetry," his work has plumbed questions ranging from the economic, romantic, and ecological to the scientific, cosmic and existential. Creating seminal new work over more than five decades, Rosenquist consistently expressed facile talent in painting, collage, drawing, and printmaking. His work is included in major public and private institutions, and has been featured in solo exhibitions at the Solomon R. Guggenheim Museum, Museum of Modern Art, Walker Art Center, Whitney Museum of American Art, Guggenheim Museum Bilbao, The Menil Collection, The Museum of Fine Arts Houston, Denver Art Museum, Tretyakov Gallery, Museum Ludwig, Wallraf-Richartz Museum, and other national and international institutions.
- Creator:James Rosenquist (1933, American)
- Creation Year:1979
- Dimensions:Height: 22.75 in (57.79 cm)Width: 40 in (101.6 cm)Depth: 0.1 in (2.54 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:Good Condition. Please see description for a complete condition report.
- Gallery Location:San Francisco, CA
- Reference Number:Seller: PM06232020-11stDibs: LU66636362842
James Rosenquist
Although he insisted that he and his fellow Pop artists developed their art-making styles independently, American painter James Rosenquist belonged at the table with Andy Warhol and Roy Lichtenstein.
Known for his distinctive use of visual montage, Rosenquist produced large, vibrantly colored tableaux marked by fragmentation and overlap. He often employed familiar motifs and objects drawn from popular contemporary culture — hot dogs, lipstick tubes, American flags — which he manipulated to form disorienting compositions whose constituent elements are nearly unrecognizable.
Born in North Dakota to Swedish parents, Rosenquist was encouraged to pursue painting by his mother, who was also an artist. He studied painting for two years at the University of Minnesota, but dropped out at the age of 21 to attend the Art Students League in New York on a scholarship. A job as a billboard painter in the late 1950s set him up to pursue his signature style, which borrowed its bold graphics and remixed kitschy aesthetic from the visual vocabulary of advertising. Works like Flamingo Capsule (1983) embody his trademark visual dissonance, drawing cigarette-ad motifs into conversation with stripes from the American flag and aluminum foil wrappers.
In addition to enormous paintings, Rosenquist created drawings, prints and collages. The 2011 lithograph The Memory Continues but the Clock Disappears is a montage of melting clocks and confetti, all submerged in a pool of water. While wryly hinting at the inevitability of decay and deterioration — suggesting that life is a ticking clock — the composition also alludes to Salvador Dalí's signature motif, the defining symbol of Surrealism. Such compositions demonstrate how Rosenquist masterfully combined seemingly incongruous elements into a harmonious and poetic whole.
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