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James RosenquistUntitled, 19751975
1975
About the Item
James Rosenquist Untitled, 1975 is an enthralling work created by the artist as a study for a lithograph of the same title. Rosenquist, alongside artists like Andy Warhol and Roy Lichtenstein, pioneered the pop movement with bold imagery and colors such as the ones that appear in this work. In this work, Rosenquist uses colors from across the color wheel to create two abstract globules of wet medium, one of which travels from the right to the center of the lower half of the composition. On the left hemisphere of the work, a circular form composed of painterly marks that resemble tire tracks sits underneath a page from The Washington Post. Over this, the artist paints layers of white and blue medium. Behind the newspaper clipping is a circular form in magenta composed of painterly marks that resemble tire tracks. From this shape, other similarly formed marks in yellow, blue and red emerge and dart toward the upper edge of the paper. In the upper center of the work, Rosenquist ingeniously places an empty rectangular form defined by thin black lines, giving the work a sense of depth and an opportunity for the viewer’s eye to rest.
Created in 1975, this mixed media on paper this work is hand-signed by James Rosenquist (North Dakota, 1933 – 2017) in pencil in the lower left image. This is a unique and original work.
About the Framing:
Framed to museum-grade, conservation standards, James Rosenquist Untitled 1975 is presented in a complementary moulding and optical grade Plexiglas.
- Creator:James Rosenquist (1933, American)
- Creation Year:1975
- Dimensions:Height: 36.5 in (92.71 cm)Width: 19.12 in (48.57 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Palo Alto, CA
- Reference Number:Seller: 74891stDibs: LU1567210764842
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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