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(after) Roy LichtensteinRoy Lichtenstein As I Opened Fire (set of 3 lithographic posters)c.2001
c.2001
About the Item
Roy Lichtenstein As I Opened Fire, set of 3 Lithographic Posters:
An authorized reproduction of Roy Lichtenstein's painting entitled "As I Opened Fire" (1964), the subject matter is inspired by panels for DC Comics' 1962 All American Men of War. Published by the Stedelijk Museum, Amsterdam circa the late 1990's/early 2000's.
Offset lithographs on wove paper. Set of 3 individual pieces.
Minor signs of handling; minor adhesive residue to the reverse of one (not visible to frontside); in otherwise very good overall vintage condition.
Dimensions: 20 x 24 inches for each (applies to each individual).
Stamped on the verso from an edition of unknown.
Published by the Stedelijk Museum, Amsterdam.
More on As I Opened Fire:
Early on in his career Roy Lichtenstein based his work mostly on cartoons and comic books. This triptych drew from the comic book "All American Men of War". The three images in As I Opened Fire work together to tell a story. The narrative is reinforced with carefully added text. This work references a revolution in art in the 1960s. Formally, Lichtenstein appropriated images from popular culture. He inserted them into a fine art context enlarging them, altering them slightly and painting them on canvas. Thus, the artist obscured the border of high and low art. He followed a strict, self-imposed formal vocabulary. Lichtenstein emphasized primary colors, black contours and enlarged 'Benday dots' frequently seen in mechanical reproductions. This work, a typical example of Pop art, can be understood as a reaction against Abstraction Expressionism. Lichtenstein responds with the erasure of the artist's hand in his painting. (source: Stedelijk Museum)
More on the artist:
Roy Lichtenstein (American, 1923–1997) was a leading figure of the Pop Art movement, creating a variety of paintings and sculptures in a signature, comic book aesthetic. He worked from images in newspaper ads and comic strips, appropriating both their subject matter and style, developing a technique that mimicked the screen-printed Ben-Day dots used in print media. A very prolific, celebrated, and sought-after artist, Lichtenstein created many public sculptures during his lifetime, and his work has been the subject of many retrospectives around the world. He died in New York City in 1997, at 74 years old.
Related Categories
Tom Wesselmann. Robert Rauschenberg. 1960s Pop Art. Contemporary Pop. Claes Oldenburg. James Rosenquist. Engagement with Mass Media, Popular Culture, New York Artists, Mid Century Modern.
- Creator:(after) Roy Lichtenstein (1928, American)
- Creation Year:c.2001
- Dimensions:Height: 24 in (60.96 cm)Width: 20 in (50.8 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:NEW YORK, NY
- Reference Number:1stDibs: LU354312709092
(after) Roy Lichtenstein
Roy Fox Lichtenstein (1923 – 1997) was an American pop artist. During the 1960s, he became a leading figure in the new art movement. He was heavily inspired by the comic strip as a visual medium, in particular the presence of the "Ben-Day" dots that are a result of the color and tone distillation of inexpensive printing. He described pop art as "not 'American' painting but actually industrial painting". Lichtenstein had his first one-man show in New York in 1962; the entire collection was bought by influential collectors before the show even opened. He would never take himself too seriously: "I think my work is different from comic strips — but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art." When first exhibited, many art critics challenged its originality. His work was harshly criticized as vulgar and empty. The title of a Life magazine article in 1964 asked, “Is He the Worst Artist in the U.S.?” Lichtenstein responded to these claims by offering responses such as: "The closer my work is to the original, the more threatening and critical the content. However, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by any rational line of argument."
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