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James Rosenquist
Expo '67 Mural - Firepole (Framed): neon pop art with airbrush details

1967

$22,500

About

In this colorful exemplar of Pop art, a fireman’s pants and boots glow in hyper color as he slides down a firepole, while deep red, neon orange and yellow fade in a gradient to white. Translucent white lines flow down the composition, and the pole features Rosenquist’s characteristic gleaming metallic chrome surface. The fireman’s graceful descent, with shiny boots held neat together, is at odds with the chaos of an emergency. In the background, the artist stylizes fire as a smooth, airbrushed sunset. This lithograph is based on the artist’s contribution to the Expo 67. Held in Montreal, Canada in April of 1967, the 1967 International and Universal Exposition was a major World Fair bringing 62 nations together. Over half a million attended on a single day. The Expo featured art galleries, opera, ballet and theatre companies, orchestras, jazz groups, famous Canadian pop musicians and other cultural attractions. Silver gilt frame: H 42.5 in. x 27.5 in. x 1.25 in. / 108 cm x 70 cm x 3.2 cm Paper: 34 x 18.75 in. / 86 x 48 cm Image: 33 x 17 in. / 84 x 43 cm Framed 6 color lithograph on white Italia handmade paper. Edition 41 with 5 AP: this impression AP 1/5. Signed by the artist and dated 1967 lower right in pencil; numbered A/P 1/5 lower left in pencil. Published by Universal Limited Art Editions. Rosenquist was a key figure of the Pop Art movement, with other progenitors including Andy Warhol and Roy Lichtenstein. A billboard painter turned fine artist, Rosenquist is known for his smooth, graphic painting style, and his use of compositions pulled from collages of magazine cutouts, advertisements, and photographs. Firepole is a characteristic juxtaposition of bold, graphic mark-making with airbrushed pigment and a bright, neon-like palette. A copy of this lithograph is in the collections of Metropolitan Museum of Art, New York; Detroit Institute of Art; Art Institute of Chicago; National Gallery of Victoria, Australia;, Albright-Knox, Buffalo; Walker Art Centrer, Minneapolis and the Museum of Modern Art, New York. Catalogue reference: Constance W. Glenn Time dust: James Rosenquist, complete graphics, 1962-1992. Rizzoli, New York, 1993, cat. no. 17.

Details

  • Artist
    James Rosenquist (1933, American)
  • Creation Year
    1967
  • Dimensions
    Height: 42.5 in. (107.95 cm)Width: 27.5 in. (69.85 cm)Depth: 1.25 in. (3.18 cm)
  • Medium
  • Movement & Style
  • Period
  • Condition
  • Gallery Location
    New York, NY
  • Reference Number
    1stDibs: LU121125102102

Shipping & Returns

  • Shipping
    Rates vary by destination and complexity.
    Ships From: New York, NY
  • Return Policy

    A return for this item may be initiated within 7 days of delivery.

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About James Rosenquist (Artist)

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.

About the Seller
4.9 / 5
Located in New York, NY
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Established in 1968
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