DOCSLIB.ORG

Little Big Painting Roy Lichtenstein, 1965

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Little Big Painting Roy Lichtenstein, 1965 15 avril 2015 Dylan Pouilly 404 Joanne Joho 403 Little Big Painting Roy Lichtenstein, 1965 15 avril 2015 Little Big Painting, Roy Lichtenstein ​ Fiche signalétique Le sujet de ce tableau est une représentation d’un plan rapproché de plusieurs traits de peinture représentant l’Action Painting, mais réalisé dans le style unique de Roy Lichtenstein. Le ​ ​ sujet est donc la peinture elle­même. Le travail est réalisé sur une toile de 172,7 x 203,2 centimètres1 à la peinture à l’huile et au Magna (marque d’acrylique pouvant s’enlever avec de l’essence de thérébentine)2. Il fait partie de la série Brushstrokes (coups de pinceau) qu’a ​ confectionnée Roy Lichtenstein sous forme de tableaux et de sculptures à partir de 1965 (même s’il s’y est surtout consacré de 65 à 66). Cette oeuvre est l’une des premières de cette série et a été achevée en 1965, année où Willem de Kooning, artiste néerlandais (naturalisé américain) et précurseur de l’expressionnisme abstrait, connait sa première rétrospective dans un musée américain (Smith College Museum of Art)3 . Ce tableau est actuellement exposé au Whitney Museum of American Art à New York. ​ ​ Analyse Aux États­Unis, les années soixante sont des années marquées par une forte envie de vivre, traduite par la montée du mouvement hippie, en même temps qu’une époque de hautes tensions internationales : en 1962, la crise des missiles de Cuba fait croire à une Troisième Guerre Mondiale, l’année suivante connait l’assassinat de Kennedy, tandis que la guerre du Vietnam fait rage et le combat pour les droits civiques est à son apogée, avec comme leader spirituel et charismatique Martin Luther King, qui sera d’ailleurs assassiné lui aussi dans cette décennie, en 1968. C’est en 1960 que Roy Lichtenstein s’installe avec femme et enfants dans le new Jersey, où il a eu un poste de professeur à l’université Rutgers. C’est là qu’il va se plonger dans l’environnement pop, avec ses publicités familiales classiques, avec ses couleurs et ses artistes majeurs (Andy Warhol rendait mythique en 1962 Marilyn Monroe, année du décès de l’actrice, grâce à ses fameuses sérigraphies, pour ne citer que cet exemple). Il va débuter ses oeuvres qui lui sont propres en 1961, également inspirées des dessins animés, en accomplissant plusieurs grands projets, tels que “look mickey”, et cette période de son parcours artistique se terminera en 1965, année où il peint “little big painting”.4 5 Par ce tableau (et avec l’intégralité de ses oeuvres de la série Brushstrokes) le but de ​ ​ l’auteur était, en quelque sorte, de répondre au mouvement artistique qu’est l’expressionnisme abstrait, ou même plus précisément, l’Action Painting (sous­catégorie de l’abstraction). Ce dernier ​ consiste à déposer des traits de peinture instinctifs sur un support, privilégiant ainsi “l’acte spontané de peindre”6. Sa réponse est donc totalement caricaturale de ce qu’est l’Action Painting, puisque le style ​ ​ qu’il utilise est tout autre : chaque coup de pinceau est réfléchi et minutieusement déposé là où il a été prévu qu’il le soit. Chez Roy Lichtenstein, la toile reste donc lisse et sans relief contrairement à des tableaux de l’Action Painting. Il a transformé de l’expressionnisme abstrait en une version ​ ​ graphique propre à lui­même. 1 http://whitney.org/Collection/RoyLichtenstein/662/ 2 http://fr.wikipedia.org/wiki/Magna_(peinture) 3 http://fr.wikipedia.org/wiki/Willem_de_Kooning 4 http://www.le­pop­art.com/roy­lichtenstein.html 5 http://fr.wikipedia.org/wiki/Roy_Lichtenstein 6 http://fr.wikipedia.org/wiki/Action_Painting 1 15 avril 2015 Little Big Painting, Roy Lichtenstein ​ "Ca m'intéressait de décrire, voire de caricaturer, un coup de pinceau” explique­t­il dans une interview faîte par John Coplans en 1967, à propos de la série Brushstroke. Il continue : “Bien sûr ​ ​ quand les coups de pinceau sont visibles sur une toile, on y voit un côté grand geste. Mais, entre mes doigts, le coup de pinceau devient la représentation de ce grand geste.”7 Définitions des caractéristiques artistiques Sur toile, le style de Roy Lichtenstein se définit par de larges aplats de couleurs simples (quatre différentes mariées au noir et au blanc), peint à l’acrylique (le Magna qui permet des modifications sans traces), donnant ainsi l’impression de sortir d’une bande dessinée. Les points souvent visibles en arrière­plan de ses oeuvres sont le fruit de pochoirs et réalisés à l’huile, tandis que les rayures sont faîtes à la main, ou à l’aide de ruban­adhésif.8 Roy Lichtenstein a débuté sa série Brushstrokes avec le tableau éponyme : ​ ​ Roy Lichtenstein, Brushstrokes, 1965. Peinture à l’huile et Magna sur toile, ​ ​ 122.5 x 122.5 cm. Collection privée. 7http://archeologue.over­blog.com/article­un­bon­coup­de­pinceau­de­roy­lichtenstein­brushstroke­monumental­en ­bord­de­seine­119274588.html 8 http://cimaises­leblog.fr/lichtenstein/ 2 15 avril 2015 Little Big Painting, Roy Lichtenstein ​ L’idée de ce tableau viendrait vraissemblablement d’un des Charlton Comics, paru une ​ ​ année plus tôt. Dick Giordano, “The Painting”, Strange Suspense Stories #72, ​ ​ Charlton Comics, octobre 1964. Cette bande dessinée raconte l’histoire d’un artiste hanté par un esprit et un visage qu’il tente d’effacer à coups de pinceau formant un “X” ; il en devient presque fou. Ce qui nous montre que malgré le résultat se voulant caricaturalement abstrait du tableau Little Big Painting que nous avons, l’idée de base venait d’une bande dessinée, de l’univers dont Roy Lichtenstein a, semble­t­il, l’impossibilité de se séparer. Liens avec d’autres artistes et mouvements Franz Kline est le profil type de l’artiste qui est carricaturé par le travail Little Big Painting de ​ Roy Lichtenstein : il est plongé dans l’Action Painting, souhaitant créer des oeuvres en se basant ​ ​ sur la spontanéité du geste, d’abord en noir et blanc, puis en couleur à partir de 1955. Cet artiste s’intéressait énormément aux mouvements du pinceau, que Lichtenstein éradique consciencieusement dans sa toile Little Big Painting, ce qui exprime bien la caricature, voire la ​ ​ satyre esthétique qu’accomplit notre artiste à propos de ce peintre abstrait, de quelques années son aîné (Kline est en effet déccédé en 1962, quelques années avant l’apparition de Little Big ​ Painting). ​ Cependant, Roy Lichtenstein avoue son point de vue sur le travail de Kline, que ce n’est pas réellement ce que l’on croit, lors d’une interview de David Sylvester en 1966. “David Sylvester : Et vous continuez en faisant ces grands traits d’une manière très méticuleuses et soigneusement formée. 3 15 avril 2015 Little Big Painting, Roy Lichtenstein ​ Roy Lichtenstein : Et bien sûr je ne suis pas certain que Kline ne l’ai pas également fait à sa manière. Ils ressemblent à des coups de pinceaux, mais ils n’en sont pas. J’ai entendu qu’ils étaient dessinés avant. Ils sont certainement retravaillés quand vous les regardez, pas spontanés. Je pense que c’est vrai pour chacun d’eux, ils symbolisaient des coups de peinture, ils symbolisaient que “l’art c’est l’art”, mais en même temps, ils représentaient une image de coups de peinture.”9 Franz Kline, Painting Number 2, 1954, huile sur toile, 204.3 x 271.8 cm, collection privée ​ ​ ​ Ce qui nous montre que Roy Lichtenstein ne trouvait peut­être pas sa série d’oeuvres aussi paradoxale qu’elle laisse croire. Analyse technique Comme expliqué précédemment, Roy Lichtenstein s’est basé sur des techniques lui permettant de travailler avec précision et en applat : des pochoirs et de l’huile pour les points qui représentent l’arrière­plan du tableau, de l’acrylique avec, parfois, du ruban­adhésif pour tracer les traits. L’oeuvre en est d’autant plus proche de la bande dessinée et du Pop Art de cette période, ​ tout en étant une vive caricature de mouvements plus abstraits. Ainsi, le choix de la technique n’est pas hasardeux et sans conséquences sur l’oeuvre : il l’inscrit dans le domaine créatif de son 9 http://www.lichtensteinfoundation.org/sylvester1.htm 4 15 avril 2015 Little Big Painting, Roy Lichtenstein ​ auteur, et la, par sa forme, ses couleurs et sa technique, permet d’émettre une critique d’un mouvement, une caricature, en se distançant de la simple imitation. Mais il ne faudrait surtout pas se limiter à la simple oeuvre inscrite dans un processus artistique en deux dimensions ! Car Roy Lichtenstein a également réalisé une série de sculptures représentant aussi ces fameux traits de pinceaux, et amenant la caricature sur un plus vaste domaine ! Roy Lichtenstein, Brushstroke, 1996. ​ ​ Aluminium peint, musée National Centre d’Art, Madrid. Tendance stylistique de l’oeuvre Nous pensons que ce tableau s’inscrit dans le courant du Pop Art, d’une part en raison de sa ​ ​ technique, de ses couleurs et de l’énergie “Pop” qui s’en dégage, bien propre à ce courant artistique, et d’autre part de la réflexion, de la caricature qui se trouve dans ces traits et ces formes, comme d’autres artistes aimaient le faire dans leurs oeuvres : Warhol a transmis de nombreuses idées philosophiques et culturelles au travers de ses réalisations, Keith Haring parlait grâce à ses personnages colorés et en mouvement, tout en critiquant des aspects de la socitété, etc. De plus, l'inspiration directe de bandes dessinées démontre bien que le corps de cette oeuvre provient de la culture populaire, qui constitue le plat principal des artistes du courant dans lequel nous avons placé Roy Lichtenstein. Conclusion Cette oeuvre représente un important travail, puisque faisant partie intégrante d’une longue série du même genre, que Lichtenstein va poursuivre jusqu’à la veille de sa mort, en 1997 (sculptures du Brushstroke réalisée en 1996).
Load more

Recommended publications
  • Breathing in Art, Breathing out Poetry: Contemporary Australian Art and Artists As a Source of Inspiration for a Collection of Ekphrastic Poems
    Breathing in art, breathing out poetry: Contemporary Australian art and artists as a source of inspiration for a collection of ekphrastic poems. Erin Shiel A thesis submitted in fulfilment of requirements for the degree of Master of Arts (Research) Faculty of Arts and Social Sciences The University of Sydney 2016 Abstract: During the course of this Master of Arts (Research) program, I have written The Spirits of Birds, a collection of thirty-five ekphrastic poems relating to contemporary Australian art. The exegesis relating to this poetry collection is the result of my research and reflection on the process of writing these poems. At the outset, my writing responded to artworks viewed in galleries, in books and online. Following the initial writing period, I approached a number of artists and asked if I could interview them about their sources of inspiration and creative processes. Six artists agreed to be interviewed. The transcripts of these interviews were used in the writing of further poetry. The interviews also provided an insight into the creative processes of artists and how this might relate to the writing of poetry. The exegesis explores this process of writing. It also examines the nature of ekphrasis, how this has changed historically and the type of ekphrastic poetry I have written in the poetry collection. In analysing the poems and how they related to the artworks and artists, I found there were four ways in which I was responding to the artworks: connecting to a symbolic device in the artwork, exploring the inspiration or creative process of the artist, drawing out a life experience or imagined narrative through the artwork and echoing the visual appearance of the artwork in the form of the poem.
    [Show full text]
  • Pop Art with Roy Lichtenstein
    January 2020 The Studiowith ART HIST RY KIDS Pop Art with Roy Lichtenstein Observe | Discuss | Discover | Create | Connect Pop Art with The Studiowith Roy Lichtenstein ART HIST RY KIDS INTRODUCTION The art of the ordinary Roy Lichtenstein’s successful art career was based on one simple idea – creating fine art inspired by images we see everyday. His art captures the ordinary things that surround us – advertisements, comic books, the painting of other famous artists like Picasso, Mondrian, Matisse, and Monet, and even Micky Mouse cartoons. He took these ideas and recreated them on a larger than life scale. Most of his can- vases are grand and oversized – they are truly bold and impactful when seen in person! He also infused little bits of commentary in his art, and he became known for his skillful use of parody. You don’t need to study every piece of art that’s included in this guide. Feel free to choose just a few that are most interesting to your kids. A range of subject matter is included here, but if some of these paintings are too intense for your kids– just skip them for now, and come back to them when they are older! There’s no hurry, and there are plenty of paintings included here that are perfect for young kids. Pop Art looks out into the world. This is your week to look closely at the “ art and chat about it. We’ll learn all It doesn’t look like a painting of about Lichtenstein and his art next something, it looks like the thing week.
    [Show full text]
  • When an Artwork Needs a New Coat of Paint SSPPEEAAKKEERRSS
    When an Artwork Needs a New Coat of Paint SSPPEEAAKKEERRSS Paul Amaral, Don Urquhart, Rachel Rivenc, Samantha Springer, Julie Wolfe S Samantha Springer 00:05 This is the Portland Art Museum podcast, a channel between the Museum and you. Our goal is to amplify community voices through conversations and personal stories. And we're here to facilitate respectful dialogue, debate and the free exchange of ideas. To participate, submit your idea at pam.to/podcast idea. We invite you to connect with art through your own experience, voice and personal journey. relevant links and transcripts for each episode are available at portlandartmuseum.org/podcast. I'm Samantha Springer, the museum's conservator. Not only do I ensure that the art that comes through the museum is safe from light and other natural elements but I also analyze and treat art that has been damaged. Sometimes we acquire pieces that are quite old, or maybe human interference calls for repair. On this episode, we're going to talk about Roy Lichtenstein's brushstrokes, an outdoor sculpture that was given to the Portland Art Museum in 2004, to commemorate the opening of the Museum's Mark building, which is home to the Jubitz center of contemporary art, the Crumpacker family library, our two ballrooms and administrative offices. To tell us a little more about brushstrokes and its arrival at the museum in 2005. Here's Don Urquhart, our Director of collections and exhibitions. D Don Urquhart 01:36 For 15 years, Roy Lichtenstein's "Brushstrokes" has been a symbol for the museum, a beacon, an invitation and a landmark.
    [Show full text]
  • Nicolas Moufarrege: Recognize My Sign Contemporary Arts Museum Houston
    Nicolas Moufarrege: Recognize My Sign Contemporary Arts Museum Houston Nicolas Moufarrege: Recognize My Sign November 10, 2018–February 17, 2019 Please do not remove from gallery. 1 Nicolas Moufarrege: Recognize My Sign Contemporary Arts Museum Houston BEIRUT In 1973, Nicolas Moufarrege mounted his first art exhibition at Triad Condas gallery in Beirut, Lebanon. The exhibit included a number of modestly-sized portrait-tapestries; a representative work is included in this exhibition. Moufarrege did not follow pre-made plans when embroidering, as one would with a standard embroidery kit. His approach, which he called “experimental weaving,” is improvisational: as images developed, he elaborated on them stitch by stitch. A similar energy enlivens a nearby drawing in marker on paper. For his tapestries, Moufarrege inventively used a combination of silk, cotton, and wool threads in varying colors to create vibrant textures, movement, and tonal shifts. In a 1973 interview with Moufarrege in the magazine Le Beyrouthin on the occasion of his inaugural show, the noted Lebanese artist Etel Adnan remarked that “this is how traditional craftsmanship becomes a personal art full of promise.” Unless otherwise noted, all works appear courtesy Nabil Moufarrej and Gulnar “Nouna” Mufarrij, Shreveport, Louisiana. No. 7, 1975 Thread on needlepoint canvas Une Ile [An Island], 1975 Thread on needlepoint canvas Please do not remove from gallery. 2 Nicolas Moufarrege: Recognize My Sign Contemporary Arts Museum Houston Embroidered patch, n.d. Thread and bead on denim Artist’s scrapbook, n.d. Various materials Untitled drawing, n.d. Marker on paper Title unknown, n.d. Thread on needlepoint canvas Please do not remove from gallery.
    [Show full text]
  • Complete Dissertation
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of East Anglia digital repository Table of Contents Page Title page 2 Abstract 3 Acknowledgements 4 Introduction 5 Chapter 1 A brief biography of E J Power 8 Chapter 2 Post-war collectors of contemporary art. 16 Chapter 3 A Voyage of Discovery – Dublin, London, Paris, Brussels, 31 Copenhagen. Chapter 4 A further voyage to American and British Abstraction and Pop Art. 57 Conclusion 90 List of figures 92 Appendices 93 Bibliography 116 1 JUDGEMENT BY EYE THE ART COLLECTING LIFE OF E. J. POWER 1950 to 1990 Ian S McIntyre A thesis submitted in partial fulfilment of the requirements for the degree of MASTER OF ARTS THE UNIVERSITY OF EAST ANGLIA September 2008 2 Abstract Ian S McIntyre 2008 JUDGEMENT BY EYE The art collecting life of E J Power The thesis examines the pattern of art collecting of E J Power, the leading British patron of contemporary painting and sculpture in the period after the Second World War from 1950 to the 1970s. The dissertation draws attention to Power’s unusual method of collecting which was characterised by his buying of work in quantity, considering it in depth and at leisure in his own home, and only then deciding on what to keep or discard. Because of the auto-didactic nature of his education in contemporary art, Power acquired work from a wide cross section of artists and sculptors in order to interrogate the paintings in his own mind. He paid particular attention to the works of Nicolas de Stael, Jean Dubuffet, Asger Jorn, Sam Francis, Barnett Newman, Ellsworth Kelly, Francis Picabia, William Turnbull and Howard Hodgkin.
    [Show full text]
  • Artist Rooms Roy Lichtenstein in Focus Tate Liverpool
    TATE LIVERPOOL ARTIST ROOMS 22 SEP – 17 JUN 2018 ROY LICHTENSTEIN IN FOCUS INTRODUCTION ARTIST ROOMS is owned by the National The pack is designed to support teachers and This display is free. For further details about Galleries of Scotland and Tate. The collection educators in planning a visit to the display with visiting Tate Liverpool with your group and is shared across the UK with Ferens Art Gallery, a collection of ideas, workshops and points for to book a visit online see: supported by the National Lottery through discussion. It is intended as a starting point that Arts Council England, Art Fund and by the will ‘trigger’ your own connections and creative www.tate.org.uk/learn/teachers/school-visits- National Lottery through Creative Scotland. ideas. The activities are suitable for all ages and tate-liverpool This free display at Tate Liverpool brings can be adapted to your needs before, during together over 20 works charting the career and after your visit. Email: [email protected] of Roy Lichtenstein (1923–1997) from his early interest in landscape to the iconic pop Call: +44 (0) 1517 027 400 paintings influenced by comic strips and advertising imagery. It includes Lichtenstein’s only work with the media of film, his triple- screen installation Three Landscapes made at Universal Studios in 1969. Cover: Reflections: Art 1988 © Estate of Roy Lichtenstein/DACS 2017 2 Roy Lichtenstein In Focus Teachers’ Pack CONTENTS ROY LICHTENSTEIN 4 ACTIVITIES 7 IN THE CAR 1963 8 ACTIVITIES 11 GLOSSARY 12 FURTHER RESOURCES 13 3 Roy Lichtenstein In Focus Teachers’ Pack ROY LICHTENSTEIN “It occurred to me one day to do something that Born in Manhattan in 1923 Roy Lichtenstein While teaching at the State University of New would appear to be just the same as a comic grew up in the West Side of New York City.
    [Show full text]
  • Roy Lichtenstein (And Mickey Mouse) at the Art Institute of Chicago
    THE TM 911 Franklin Street Weekly Newspaper Michigan City, IN 46360 Volume 28, Number 21 Thursday, May 31, 2012 Roy Lichtenstein (and Mickey Mouse) at the Art Institute Of Chicago by Barbara Stodola Look Mickey (1961), now in the collection of the National Gallery of Art, launched the art movement that came to be known as Pop Art. Fifty-one years have passed since Roy Lichten- Pollock such a great artist, but they both heaped stein amplifi ed Walt Disney’s cartoon character into scorn on the Pop Art springing from the studios of the revolutionary painting that now holds pride of Lichtenstein, Andy Warhol, and eventually several place at the Art Institute of Chicago. Look Mickey others. introduces the 160-piece Lichtenstein retrospective Lichtenstein knew he was onto something. that opened to the public May 22, runs thru Sept. 3, “LOOK MICKEY! I’VE LANDED A BIG ONE!” then travels to Washington, D.C., London and Paris. proclaimed Donald Duck in his fi rst painting based This is a familiar story from the annals of art his- on a comic strip. The use of speech bubbles to con- tory, that yesterday’s scandals become today’s mas- vey Lichtenstein’s not-so-hidden meaning contin- terpieces. But even so, even with the wisdom and ued the next year, in the cartoonish painting he en- the hindsight that accrue after 50 years, it is hard titled Masterpiece. “Soon you’ll have all of New York to fi gure what could have been so scandalous about clamoring for your work!” the artist’s girlfriend pre- Mickey Mouse.
    [Show full text]
  • Parrish Home Art Studios
    Parrish Home Art Studios POP ART COLLAGE Create collages inspired by the art of Roy Lichtenstein from the permanent collection. Left: Roy Lichtenstein, American, 1923–1997, Brushstrokes, 1967, Screenprint, 22 x 30 inches, Parrish Art Museum, Water Mill, N.Y., Gift of James and Katherine Goodman, 2003.12.12., Right: Roy Lichtenstein, American, 1923–1997, Apple with Brushstrokes, ca. 1984, Collage on paper, 29 1/2 x 26 inches, Parrish Art Museum, Water Mill, N.Y., Gift of Dorothy and Roy Lichtenstein, 1992.5.2. Materials: Assorted papers Scissors Glue Pencil Wide, flat tipped paint brush Paint Wide marker (substitutes for paint) Roy Lichtenstein (1923-1997) began making Pop Art paintings as a way to amuse his young sons. Pop Art draws on popular imagery such as comics, cartoons, advertisements, or product labels. He drew Mickey Mouse and Donald Duck and began to think about using other images that were part of American life. While Lichtenstein’s paintings were the complete opposite of the abstract works being created by other artists of his time, he was fascinated by the bold brushstrokes those artists used in their expressive paintings. Cartoon-like images of brushstrokes became prominent in Lichtenstein’s work, as well as the use of dots, which he borrowed from commercial printing. He often used black and white with a palette of red, yellow, blue, and green. Lichtenstein once explained that when working on a painting or sculpture, “I start with drawings or collages and usually I can see how it will work out in the painting. I often collage changes on the painting itself.” You can see these elements in the works from the Parrish collection pictured above.
    [Show full text]
  • Wham! Blam! How Pop Art Stormed the High-Art Citadel and What the Critics Said
    1A POP ART FM 1A P3.F1 8/6/97 3:41 AM Page xiii WHAM! BLAM! HOW POP ART STORMED THE HIGH-ART CITADEL AND WHAT THE CRITICS SAID Steven Henry Madoff The image slyly disturbs, and yet it is brightly vacuous. Marilyn (Three Times). The hair is a molded mound of brass, the lips smeared with red. The eyes, weighted with two tech- nicolor slabs of makeup, a parody of makeup, have the opiated look of someone who has stared too long into the camera’s flash, who no longer sees anything but the packaged good she has become. The portrait in the picture is multiplied (here by three, by six in a similar silkscreen job, by a hundred in another) so that we may learn one thing above all else: that the painting’s author, Andy Warhol, knows she is a packaged good — pumped- up, electric-hued, and hollow — and adores what she is. He wants to be every bit like her and, even more so, like the world that made her. Warhol is in his studio (the Factory, he calls it), emulating that world, that glittering engine of the fabulous and the jaded, which, like his picture, offers up a star who fabri- cates feelings for a living, but whose own feelings get hidden inside the package, get lost in the repeated, endless manufacture. He likes what he sees. He states as much in an oft- quoted remark meant to announce his distance from Jackson Pollock’s proclamation, “I am nature.” Flatly, Warhol says, “I want to be a machine.” There is irony here and a will- ing blankness.
    [Show full text]
  • Hall of Mirrors: Roy Lichtenstein and the Face of Painting in the 1960S
    Hall of Mirrors Roy Lichtenstein and the Face of Painting in the 1960s Graham Bader The MIT Press Cambridge, Massachusetts London, England © 2010 Graham Bader All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email [email protected] .edu or write to Special Sales Department, The MIT Press, 55 Hayward Street, Cambridge, MA 02142. This book was set in Bembo by Graphic Composition, Inc., Bogart, Georgia, and was printed and bound in the United States of America. Library of Congress Cataloging- in-Publication Data Bader, Graham. Hall of mirrors : Roy Lichtenstein and the face of painting in the 1960s / Graham Bader. p. cm. — (October books) Includes bibliographical references and index. ISBN 978-0-262-02647-5 (hardcover : alk. paper) 1. Lichtenstein, Roy, 1923–1997—Criticism and interpretation. 2. Mirrors in art. 3. Pop art— United States. I. Title. ND237.L627B33 2010 759.13—dc22 2009022527 10 9 8 7 6 5 4 3 2 1 Index Note: Page numbers in boldface indicate illustrations. Abstract expressionism, xxix, 20, 22– 23, Artist’s Studio series, 184, 193– 194 30, 39, 114, 206n35 Artist’s Studio: “Look Mickey,” 1973, 60, 61, Abstract impressionism, 18–23, 25, 31, 184, 213n40 205n32 Ashton, Dore, 99, 101 Adams, Laurie Schneider, 181 Aspen Summer Festival, 1967, 162, 163 Adorno, Theodor W., xxxiii, 148, 194– 195 The Atom, no.
    [Show full text]
  • Stanford Auctioneers Fine Art, Pop Art, Photographs: Day 2 of 3 Saturday – October 24Th, 2020
    Stanford Auctioneers Fine Art, Pop Art, Photographs: Day 2 of 3 Saturday – October 24th, 2020 www.stanfordauctioneers.com | [email protected] 751: EMIL FILLA - Zeny hlavu doprava (Woman's Head to the Right) USD 2,000 - 2,500 Emil Filla (Czech, 1882-1953). "Zeny hlavu doprava (Woman's Head to the Right)". Pencil drawing. Composed 1934. Signed with the intials and dated, lower right. Light grey watermarked wove paper. Very good condition; a few fox marks; inscription verso which does not telegraph through to recto. Overall size: 10 5/8 x 8 1/2 in. (270 x 216 mm). Lot Note(s): A companion piece to the similar composition "Hlava zeny oprena o ruku." Filla was a leader of the avant-garde in Prague between World War I and World War II and was an early Cubist painter. Image copyright © The Estate of Emil Filla. [27715-2-1600] 752: KEITH HARING - Yellow Forms USD 800 - 900 Keith Haring (American, 1958 - 1990). "Yellow Forms [Untitled 1984]". Color offset lithograph. Composed 1984. Printed 1985. Signed by Haring in black marker, lower right. Edition unknown, presumed very small. Light cream wove paper. Ample margins. Fine impression. Fine condition. Overall size: 6 11/16 x 7 13/16 in. (170 x 198 mm). Lot Note(s): Rare. No auction records located. Issued to promote the “Keith Haring: Peintures, Sculptures, et Dessins” exhibition at the capc Musee d’art contemporain, Bordeaux, France. Apparently there were very small quantities of this lithograph printed for distribution at the opening night reception and they went quickly. The exhibition ran from December 15th 1985 to February 23, 1986.
    [Show full text]
  • National Gallery of Art Press Office: National Gallery of Art, Press Office 202.842.6353 Fax: 202.789.3044
    Updated 5/2/2013 | 1102分 Updated Thursday, May 2, 2013 | 6:22:11 PM Last updated Thursday, May 2, 2013 National Gallery of Art Press Office: National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Roy Lichtenstein: A Retrospective National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 October 14, 2012 - January 13, 2013 To order publicity images: Please email [email protected] or fax (202) 789-3044 and designate your desired images, using the “File Name” on this list. Please include your name and contact information, press affiliation, deadline for receiving images, the date of publication, and a brief description of the kind of press coverage planned. Please allow a minimum of one full business day for image requests. Links to download the digital image files will be sent via e-mail. Please use the captions and credits below as listed. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Important: The images displayed on this page are for reference only and are not to be reproduced in any media. File Name: 3287-012 Roy Lichtenstein Untitled, 1959 oil on canvas overall: 86.5 x 71.3 cm (34 1/16 x 28 1/16 in.) Private collection © Estate of Roy Lichtenstein File Name: 3287-002 Roy Lichtenstein Look Mickey, 1961 oil on canvas Overall: 121.9 x 175.3 cm (48 x 69 in.) ramed: 123.5 x 176.9 x 5.1 cm (48 5/8 x 69 5/8 x 2 in.) National Gallery of Art, Washington, Gift of Roy and Dorothy Lichtenstein in Honor of the 50th Anniversary of the National Gallery of Art © Board of Trustees, National Gallery of Art, Washington File Name: 3287-253 Roy Lichtenstein Keds, 1961 oil on canvas overall: 123.2 x 88.3 cm (48 1/2 x 34 3/4 in.) The Robert B.
    [Show full text]