Roy LichtensteinApple (Poster) -- signed1981
1981
About the Item
- Creator:Roy Lichtenstein (1923 - 1997, American)
- Creation Year:1981
- Dimensions:Height: 36.88 in (93.68 cm)Width: 27.13 in (68.92 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Very Good/Excellent Condition.
- Gallery Location:Missouri, MO
- Reference Number:1stDibs: LU74732546173
Roy Lichtenstein
Roy Lichtenstein is one of the principal figures of the American Pop art movement, along with Andy Warhol, James Rosenquist, Claes Oldenburg and Robert Rauschenberg.
Drawing inspiration from comic strips, Lichtenstein appropriated techniques commercial printing in his paintings, introducing a vernacular sensibility to the visual landscape of contemporary art. He employed visual elements such as the halftone dots that comprise a printed image, and a comic-inspired use of primary colors gave his paintings their signature “Pop” palette.
Born and raised in New York City, Lichtenstein enjoyed Manhattan’s myriad cultural offerings and comic books in equal measure. He began painting seriously as a teenager, studying watercolor painting at the Parsons School of Design in the late 1930s, and later at the Art Students League, where he worked with American realist painter Reginald Marsh. He began his undergraduate education at Ohio State University in 1940, and after a three-year stint in the United States Army during World War II, he completed his bachelor’s degree and then his master’s in fine arts. The roots of Lichtenstein’s interest in the convergence of high art and popular culture are evident even in his early years in Cleveland, where in the late 1940s, he taught at Ohio State, designed window displays for a department store and painted his own pieces.
Working at the height of the Abstract Expressionist movement in the 1950s, Lichtenstein deliberately eschewed the sort of painting that was held in high esteem by the art world and chose instead to explore the visual world of print advertising and comics. This gesture of recontextualizing a lowbrow image by importing it into a fine-art context would become a trademark of Lichtenstein’s artistic style, as well as a vehicle for his critique of the concept of good taste. His 1963 painting Whaam! confronts the viewer with an impact scene from a 1962-era issue of DC Comics’ All American Men of War. Isolated from its larger context, this image combines the playful lettering and brightly colored illustration of the original comic with a darker message about military conflict at the height of the Cold War. Crying Girl from the same year featured another of Lichtenstein’s motifs — a woman in distress, depicted with a mixture of drama and deadpan humor. His work gained a wider audience by creating a comic-inspired mural for the New York State Pavilion of the 1964 World's Fair, he went on to be represented by legendary New York gallerist Leo Castelli for 30 years.
In the 1970s and ’80s, Lichtenstein experimented with abstraction and began exploring basic elements of painting, as in this 1989 work Brushstroke Contest. In addition to paintings in which the brushstroke itself became the central subject, in 1984 he created a large-scale sculpture called Brushstrokes in Flight for the Port Columbus International Airport in Ohio. Still Life with Windmill from 1974 and the triptych Cow Going Abstract from 1982 both demonstrate a break from his earlier works where the subjects were derived from existing imagery. Here, Lichtenstein paints subjects more in line with the norms of art history — a pastoral scene and a still life — but he has translated their compositions into his signature graphic style, in which visual elements of printed comics are still a defining feature.
Lichtenstein’s work is represented in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, Tate Modern, and many others. He was awarded National Medal of Arts in 1995, two years before he passed away.
Find a collection of Roy Lichtenstein prints, drawings and more on 1stDibs.
- ShippingRetrieving quote...Ships From: Missouri, MO
- Return PolicyA return for this item may be initiated within 2 days of delivery.
- Still Life on PorcelainBy Tom WesselmannLocated in Missouri, MOTom Wesselmann, (1931-2004) "Still Life" (Stilleben) 1988 Porcelain with Polychrome Ed. 169/299 Porcelain Size: approx. 13 x 14 inches Overall Size: approx. 18 3/4 x 20 inches Foun...Category
1980s Pop Art Still-life Prints
MaterialsPorcelain
- Lemon TreeBy Kazuhisa HondaLocated in Missouri, MOKazuhisa Honda (b. 1948) "Lemon Tree" c. 1980s Mezzotint Signed Lower Right Numbered Lower Left 81/250 Site Size: approx. 8 x 5 inches Framed Size: approx...Category
1980s Modern Still-life Prints
MaterialsMezzotint
- Brown CottonwoodLocated in Missouri, MOBrown Cottonwood, 2005 By Andrew Millner (American, b. 1967) Lightjet Print Mounted on UV Plex Signed Lower Right Unframed: 87" x 44" Framed: 88" x 45" Andrew Millner is a visual artist based in St. Louis, MO. His work investigates the relationship between art and nature, the natural and the made. Millner received a BFA from University of Michigan, in Painting and Sculpture. He has had more than 56 group exhibitions since 1987 and over 15 solo exhibitions at institutions including Miller Yezerski Gallery, Boston, Massachusetts; Ellen Miller Gallery, Boston, Massachusetts; CCA, Santa Fe, New Mexico; Tria Gallery, New York City, New York; Richard Levy Gallery, Albuquerque, New Mexico; David Floria Gallery, Aspen, Colorado; Contemporary Museum St. Louis, St. Louis, Missouri. "I started drawing on the computer in 2005. Previous to that, most of my work had been about finding lines in nature; the contours of leaves, the ripples on rivers, the edges of overlapping hills. Although I was using traditional art materials, I prepared the canvases with slicker and slicker surfaces so that the lines wouldn’t soak into the background but sit on top, preserving the nuances of my hand. I thought of the drawings as photographic, in the diaristic sense of recording moments of time. I enjoyed the easy correspondence of the endless novelty of line in these natural forms and the endless variety of line created by my hand. I couldn’t draw the same leaf twice so my subject and process were well matched. I had the idea to draw every leaf of a tree, but I struggled with the scale and complexity of the subject. How does one bring a tree indoors? How can one see the whole tree and its individual parts simultaneously? I tried traditional strategies and materials but the results were unsatisfactory. I wondered if it would be possible to make the drawing on a computer. Since everything… music, photos, movies & books were being digitized, what about drawing? I wasn’t interested in something computer-generated, but sought to “dumb down” the computer and use it as a repository for simple line drawings. In the program I use, Adobe Illustrator, lines are called “paths”… an apt name since the line exists at no set scale or color. Only later do I assign the attributes of color and thickness. Taking my laptop outdoors, I drew my first tree “en plein air.” Using a digital tablet and pen, I drew simple contours of the leaves and branches. Having these drawings remain in digital form rather than in physical form, opened up interesting possibilities and enabled me to tackle the complexity of a tree in intriguing ways. My lines were free and separate from the background and from each other. I drew the branches individually and then later, I could cobble them together to reconstitute the whole tree. On the screen, I could zoom in and out and draw at different scales simultaneously. I could zoom out to draw a simple contour of the entire trunk and then zoom in to draw the smallest leaf with equal effort. I drew in layers so that as the drawings accumulated I could turn layers “off” so that they wouldn’t obscure subsequent layers. These two novelties, drawing at different scales simultaneously and making parts of the drawing invisible to allow for work on top or behind previous drawings, allowed for the accumulation of hundreds of simple outlines to create a dizzying visual complexity. Subsequent trees I drew from photographs. I would take hundreds of close-ups of a tree from a single point of view and then stitch all of these close ups together on the computer. Sometimes I photographed the same tree in the summer and then in the fall after it lost its leaves. This allowed me to see and draw all of the branches and limbs unadorned and unobscured. I would draw the tree twice, with and without leaves, merging the two drawings into one document. In this way, the drawings comprise and compress great spans of looking over vast time frames and seemingly contradictory close-up and distant points of view. My digital drawings have been outputted in different ways… mostly as photographs printed directly from the digital file or as archival inkjet prints. The results defy easy categorization. Are they drawings, prints, or camera-less photographs...Category
21st Century and Contemporary American Modern Still-life Prints
MaterialsPlexiglass, Inkjet
- Seascape (Foot)By Tom WesselmannLocated in Missouri, MO"Seascape" (Foot) 1967 Screenprinted Vacuum-Formed Plexiglass In Colors Scratch-Signed, Dated and Numbered 92/101 14 1/4 x 12 15/16 x 3/4 in (36.1 x 32.9 x 2 cm). Known for his Pop-...Category
1960s Pop Art Figurative Prints
MaterialsPlexiglass, Screen
- Hurry SundownBy Billy SchenckLocated in Missouri, MOBilly Schenck (American, b. 1947) Hurry Sundown, 1985 Edition 19/60 Serigraph 21 x 38 inches Signed, Titled, Dated, and Numbered Lower Margin Billy Schenck is a contemporary artist ...Category
1980s Pop Art Landscape Prints
MaterialsScreen
- Heart with ProfileBy Peter MaxLocated in Missouri, MOPeter Max Heart and Profile c. 2005 Serigraph with Acrylic Paint Hand Signed by the Artist Image Size: approx. 14 x 12.5 Frames Size: approx. 27 x 24.5 inchesCategory
Early 2000s Pop Art Abstract Prints
MaterialsAcrylic, Lithograph
- Mirror #6 (from Mirror Series), 1972By Roy LichtensteinLocated in Saugatuck, MIA very rare Roy Lichtenstein limited edition artist proof hand-signed and numbered linocut and screen print inscribed "To Leo" as in Leo Castelli. The work was later purchased by Ge...Category
1970s Pop Art Interior Prints
MaterialsLinocut, Screen
- "She fled along the avenue" by Patrick Caulfield, 20th Century, Still Life PrintBy Patrick CaulfieldLocated in Köln, DE"She fled along the avenue" is from the series "Some poems by Jules Laforgue". Patrick Caulfied was deeply inspired by these poems and found to his very own depiction of these poems....Category
1970s Pop Art Still-life Prints
MaterialsScreen
- FlowersBy Andy WarholLocated in Ljubljana, SIFlowers. Original silkscreen and hand Watercolor, 1974. Initialed "AW" in pencil lower right and signed on verso in pencil. Edition of 250 signed and numbered impressions on Arches p...Category
1970s Pop Art Still-life Prints
MaterialsWatercolor, Screen
- FlowersBy Andy WarholLocated in Ljubljana, SIFlowers. Original silkscreen and hand Watercolor, 1974. Initialed "AW" in pencil lower right and signed on verso in pencil. Edition of 250 signed and numbered impressions on Arches p...Category
1970s Pop Art Still-life Prints
MaterialsWatercolor, Screen
- Flower Garden (color trial proof) James Rosenquist Pop Art in black and whiteBy James RosenquistLocated in New York, NYBased on Rosenquist’s 1961 grisaille oil painting Flower Garden, this work arranges a still life using an advertisement for gloves with part of an athlete’s torso. A number 1 can be ...Category
1970s Pop Art Figurative Prints
MaterialsLithograph, Screen
- Andy Warhol - Halston Advertising Campaign Poster - FIRST EDITIONBy Andy WarholLocated in Brooklyn, NYArtist: Andy Warhol Title: Halston Advertising Campaign Poster Year: 1982 Signed: No Medium: Serigraph Paper Size: 22.75 x 29.5 inches ( 57.785 x 74.93 cm ) Image Size: 22.75 x 29.5 ...Category
1980s Pop Art Still-life Prints
MaterialsScreen