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James Rosenquist
Flower Garden (color trial proof) James Rosenquist Pop Art in black and white




Based 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 seen on his uniform. His thigh, and his arm, extended downward, mimic the elegant gesture of the gloved hands. This work’s title, Flower Garden, refers to the figures sprouting up, like flowers in a row. Image 22 x 29 in. / 55.8 x 73.6 cm Paper: 31 x 36.5 in. / 78.7 x 92.7 cm Unique color trial proof. 8-color lithograph from aluminum plates. Signed by the artist, annotated AB, and dated lower right in pencil. Numbered 1/3, annotated “color trial”, and titled Flower Garden lower left in pencil. A copy of this print is in the collections of SF MoMA, San Francisco; MoMA, New York; Kemper Art Museum, St. Louis; and the Nelson-Atkins Museum of Art, Kansas City. Catalogue reference: Constance W. Glenn Time Dust: James Rosenquist Complete Graphics 1962 - 1992, Rizzoli, New York 1993, no 52


  • Artist
    James Rosenquist (1933, American)
  • Creation Year
  • Dimensions
    Height: 31 in. (78.74 cm)Width: 36.5 in. (92.71 cm)
  • Medium
  • Movement & Style
  • Period
  • Condition
    Good condition; small area of discoloration on left and right edge of sheet from original handling in the studio, as photographed.
  • Gallery Location
    New York, NY
  • Reference Number
    1stDibs: LU121126305592

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    Ships From: New York, NY
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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.

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