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Roy Lichtenstein
Lichtenstein, Imperfect print, from Imperfect Prints Series, 1988

1988

Price Upon Request

About

Woodcut, 1988, with screenprint and collage in colours on 3-ply Supra 100 paper, signed in pencil, dated, numbered from the edition of 45, published by Gemini G.E.L. Los Angeles, printed by Gemini G.E.L., Los Angeles, 170.6 x 231 cm (unframed); 174.8 x 234.8 cm (framed) Roy Lichtenstein’s Imperfect series, printed on 4-ply Museum Board, combines woodcut and screen print, and all but one print have metalized Mylar collage elements. Lichtenstein sent the block –line drawings for the print to Gemini GEL in advance of his arrival but worked out the colors there. For the woodcut portions, Lichtenstein cut the online (key block) and the large flat areas were printed separately from jigsaw cutout sections. To get the dense colors, several over printings were required. The silver and galvanized Mylar were prepared in sheets and then hand-cut for each of the collage elements. The silver Mylar was overprinted with a clear coat to protect the reflective surface. The galvanized Mylar was over printed with a silver run made from a rubbing of galvanized steel. A screen printed coating has been applied to the verso of each of the boards to stabilize it.

Details

  • Creator
  • Creation Year
    1988
  • Dimensions
    Height: 66.93 in. (170 cm)Width: 90.95 in. (231 cm)Depth: 0.08 in. (2 mm)
  • Medium
  • Movement & Style
  • Period
  • Condition
  • Gallery Location
    London, GB
  • Reference Number
    Seller: 1008261stDibs: LU4706963912

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    Ships From: London, United Kingdom
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    A return for this item may be initiated within 7 days of delivery.

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About Roy Lichtenstein (Artist)

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 the 1962 DC Comic 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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