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Ralph GoingsRalph Goings-Sweet 'n Low-1980
1980
About the Item
Sku: YY6961
Artist: Ralph Goings
Title: Sweet 'n Low
Year: 1980
Signed: No
Medium: Serigraph
Paper Size: 36 x 45 inches ( 91.44 x 114.3 cm )
Image Size: 33.5 x 42.5 inches ( 85.09 x 107.95 cm )
Edition Size: 200
Framed: No
Condition: A-: Near Mint, very light signs of handling
Additional Details: Unsigned serigraph by Ralph Goings, probably an overrun from the signed edition, with larger margins.
Shipping and Handling: We ship Worldwide. For Domestic and International shipments alike, we use heavy, thick-walled UPS and FedEx Approved shipping tubes to ship all items that are rollable. For items that cannot be rolled, we pack the item flat.
Attention International Buyers, Please Note: Import duties, taxes, and charges are not included in the item price or shipping cost. These charges are the buyer's responsibility. Please check with your country's customs office to determine what these additional costs will be prior to bidding or buying.
- Creator:Ralph Goings (1928, American)
- Creation Year:1980
- Dimensions:Height: 36 in (91.44 cm)Width: 45 in (114.3 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:All items are carefully stored. Condition is a main concern, unless otherwise indicated, all items are in mint condition. Additional pictures are available upon request. Feel free to contact our team if you have any questions or concerns. Thank you.
- Gallery Location:Brooklyn, NY
- Reference Number:Seller: YY69611stDibs: LU1294114052722
Ralph Goings
Ralph Goings (1928 – 2016) is an American painter closely associated with the Photorealism movement of the late 1960s and early 1970s. He is best known for his highly detailed paintings of hamburger stands, pick-up trucks, and California banks, portrayed in a deliberately objective manner. Goings said of his choice to work in a photorealistic style when he returned to painting: "In 1963 I wanted to start painting again but I decided I wasn't going to do abstract pictures. It occurred to me that I should go as far to the opposite as I could. ... It occurred to me that projecting and tracing the photograph instead of copying it freehand would be even more shocking. To copy a photograph literally was considered a bad thing to do. It went against all of my art school training... some people were upset by what I was doing and said 'it's not art, it can't possibly be art'. That gave me encouragement in a perverse way, because I was delighted to be doing something that was really upsetting people... I was having a hell of a lot of fun..."
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