Christo and More SMS A Collection of Multiples 'William N. Copley, 1968'

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.

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Motivated solely by a mission to spread joy and celebrate beauty through their work, Christo and Jeanne-Claude (1935–2020; 1935–2009) created riveting large-scale public art installations that pushed ephemeral art to an entirely unprecedented new level. While the pair created prints, photography and a range of other types of art, they’re best known for their installations — working with a combination of textiles and industrial materials, Christo and Jeanne-Claude created colossal site-specific sculptures and other projects that frequently included wrapping monuments, walkways and even coastlines in reams of fabric in order to draw attention and encourage viewers to experience familiar objects and places in entirely new ways. 

Christo and Jeanne-Claude frequently incorporated nature’s forces into their works, creating billowing fence lines, enormous inflatable free-standing structures and colorful floating walkways. Partners in life and art, the pair designed installations that often took years or even decades to realize and lasted for only days or weeks. Christo and Jeanne-Claude’s preparatory works and detailed drawings and collages are today a testament to their intricate ephemeral masterpieces and legacy.

Christo and Jeanne-Claude’s stories, incredibly, began on the exact same day — on June 13, 1935, Christo Vladimirov Javacheff was born in Gabrovo, Bulgaria, and on the very same day in Casablanca, Morocco, Jeanne-Claude Denat de Guillebon was born. While Jeanne-Claude received a broad education and a baccalauréat in Latin and philosophy, growing up in France, Switzerland, Morocco and Tunisia, Christo studied art from the age of six years old. He went on to study painting, drawing, architecture and sculpture at the National Academy of Art in Sofia before leaving Bulgaria to escape the Hungarian Revolution. 

Christo spent time in Prague before a brief stint at the Vienna Academy of Fine Arts, moving on then to Geneva and ultimately France. He made money by painting portraits for wealthy families. After being hired by Jeanne-Claude’s mother to paint three portraits of her, Christo met his future wife and collaborator. The pair created their first environmental installation, Dockside Packages and Stacked Oil Barrels, in 1961. 

Together, Christo and Jeanne-Claude pursued increasingly ambitious projects, proposing to wrap everything from trees in Wrapped Trees, Foundation Beyeler and Berower Park, Riehen, Switzerland, 1997-98 to important public buildings including the Wrapped Reichstag, Berlin, 1971–95. They also created free-standing abstract sculptures such as the 5,600 Cubicmeter Package, billowing curtains such as Valley Curtain, Rifle, Colorado, 1970–72, and proposed installations in locations as far-flung as Dubai and Japan. These projects and others have been linked to the Pop art-adjacent nouveau réalisme movement.

Classically trained in drawing, Christo created preparatory sketches and collages for the projects, selling his artwork to independently fund the monumental temporary installations the pair erected. Meanwhile, Jeanne-Claude advocated for the pair’s artwork, speaking at public forums, sending proposals to municipal governments, and using her unique combination of compelling charm and stoic stubbornness to get their projects approved. 

Devoted to their ideals of spreading joy and beauty, the pair accepted no commissions or commercial collaborations — all their installations were funded purely by the sale of their preparatory art. The last of their realized urban works, that 2005 project invited New Yorkers to go for a glorious walk through 7,503 saffron-fabric-draped portals along the pathways of Central Park. More than 4 million people did.

Christo’s wrapped sculptures, which he began making early in his career, as well as his preparatory works, are held in the permanent collections of museums and other institutions including the Smithsonian American Art Museum, the National Gallery of Art, the Museum of Contemporary Art and the Centre Pompidou. Jeanne-Claude died in 2009, and Christo continued to realize the pair’s planned projects until his own passing in 2020. 

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