National Gallery of Art Press Office: National Gallery of Art, Press Office 202.842.6353 Fax: 202.789.3044

Total Page:16

File Type:pdf, Size:1020Kb

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. Mayer Family Collection, Chicago © Estate of Roy Lichtenstein File Name: 3287-023 Roy Lichtenstein The Ring (Engagement), 1962 oil on canvas overall: 121.9 x 177.8 cm (48 x 70 in.) Stefan T. Edlis Collection © Estate of Roy Lichtenstein For Press Inquiries Only: Phone (202) 842-6353 Page 1 National Gallery of Art Press Office | Roy Lichtenstein: A Retrospective : File Name: 3287-160 Roy Lichtenstein Hot Dog with Mustard, 1963 oil and Magna on canvas overall: 45.7 x 121.9 cm (18 x 48 in.) Aaron I. Fleischman © Estate of Roy Lichtenstein File Name: 3287-038 Roy Lichtenstein Tire, 1962 oil on canvas overall: 172.7 x 142.24 cm (68 x 56 in.) The Doris and Donald Fisher Collection, San Francisco, and the Museum of Modern Art, New York © Estate of Roy Lichtenstein File Name: 3287-041 Roy Lichtenstein Ball of Twine, 1963 oil and Magna on canvas overall: 101.6 x 91.4 cm (40 x 36 in.) Private collection © Estate of Roy Lichtenstein File Name: 3287-189 Roy Lichtenstein Compositions I, 1964 Magna on canvas overall: 172.7 x 147.3 cm (68 x 58 in.) MMK Museum für Moderne Kunst, Frankfurt am Main, Former Karl Ströher Collection, Darmstadt © Estate of Roy Lichtenstein File Name: 3287-024 Roy Lichtenstein Masterpiece, 1962 oil on canvas overall: 137.2 x 137.2 cm (54 x 54 in.) Agnes Gund Collection, New York © Estate of Roy Lichtenstein File Name: 3287-028 Roy Lichtenstein Drowning Girl, 1963 oil and Magna on canvas overall: 171.6 x 169.5 cm (67 9/16 x 66 3/4 in.) The Museum of Modern Art, New York, Philip Johnson Fund (by exchange) and Gift of Mr. and Mrs. Bagley Wright, 1971 © Estate of Roy Lichtenstein For Press Inquiries Only: Phone (202) 842-6353 Page 2 National Gallery of Art Press Office | Roy Lichtenstein: A Retrospective : File Name: 3287-046 Roy Lichtenstein Torpedo...LOS!, 1963 oil and Magna on canvas overall: 172.7 x 203.2 cm (68 x 80 in.) Collection Simonyi © Estate of Roy Lichtenstein File Name: 3287-045 Roy Lichtenstein Whaam!, 1963 oil and Magna on canvas overall: 172.7 x 421.6 cm (68 x 166 in.), two panels Tate, London, Purchased 1966 © Estate of Roy Lichtenstein File Name: 3287-129 Roy Lichtenstein Ohhh...Alright..., 1964 oil and Magna on canvas overall: 91.4 x 96.5 cm (36 x 38 in.) Private collection © Estate of Roy Lichtenstein File Name: 3287-032 Roy Lichtenstein Oh, Jeff...I Love You, Too...But..., 1964 oil and Magna on canvas overall: 121.9 x 121.9 cm (48 x 48 in.) Collection Simonyi © Estate of Roy Lichtenstein File Name: 3287-149 Roy Lichtenstein As I Opened Fire, 1964 oil and Magna on canvas panel: 172.7 x 142.2 cm (68 x 56 in.) Stedelijk Museum, Amsterdam © Estate of Roy Lichtenstein File Name: 3287-150 Roy Lichtenstein As I Opened Fire (Panel 2 of 3), 1964 oil and Magna on canvas panel: 172.7 x 142.2 cm (68 x 56 in.) Stedelijk Museum, Amsterdam © Estate of Roy Lichtenstein For Press Inquiries Only: Phone (202) 842-6353 Page 3 National Gallery of Art Press Office | Roy Lichtenstein: A Retrospective : File Name: 3287-151 Roy Lichtenstein As I Opened Fire (Panel 3 of 3), 1964 oil and Magna on canvas panel: 172.7 x 142.2 cm (68 x 56 in.) Stedelijk Museum, Amsterdam © Estate of Roy Lichtenstein File Name: 3287-050 Roy Lichtenstein Wall Explosion II, 1965 porcelain enamel on steel overall: 170.2 x 188 x 10.2 cm (67 x 74 x 4 in.) Tate, London, Purchased 1980 © Estate of Roy Lichtenstein File Name: 3287-065 Roy Lichtenstein Brushstrokes, 1965 oil and Magna on canvas overall: 122.5 x 122.5 cm (48 1/4 x 48 1/4 in.) Private collection © Estate of Roy Lichtenstein File Name: 3287-064 Roy Lichtenstein Little Big Painting, 1965 oil and Magna on canvas overall: 172.7 x 203.2 cm (68 x 80 in.) Whitney Museum of American Art, New York, Purchase, with Funds from the Friends of the Whitney Museum of American Art © Estate of Roy Lichtenstein File Name: 3287-066 Roy Lichtenstein Brushstroke with Spatter, 1966 oil and Magna on canvas overall: 121.9 x 152.4 cm (48 x 60 in.) The Art Institute of Chicago, Barbara Neff Smith and Solomon Byron Smith Purchase Fund © Estate of Roy Lichtenstein File Name: 3287-138 Roy Lichtenstein Sunrise, 1965 oil and Magna on canvas overall: 91.4 x 172.7 cm (36 x 68 in.) Private collection © Estate of Roy Lichtenstein For Press Inquiries Only: Phone (202) 842-6353 Page 4 National Gallery of Art Press Office | Roy Lichtenstein: A Retrospective : File Name: 3287-168 Roy Lichtenstein Seascape, 1965 Rowlux and cut-and-pasted painted paper on board overall: 75.1 x 55.6 cm (29 9/16 x 21 7/8 in.) Private collection © Estate of Roy Lichtenstein File Name: 3287-061 Roy Lichtenstein Seascape, 1964 oil and Magna on canvas overall: 121.9 x 172.7 cm (48 x 68 in.) Collection Viktor and Marianne Langen © Estate of Roy Lichtenstein File Name: 3287-157 Roy Lichtenstein Washington Crossing the Delaware I, c. 1951 oil on canvas overall: 66 x 81.3 cm (26 x 32 in.) The Roy Lichtenstein Foundation Collection © Estate of Roy Lichtenstein File Name: 3287-067 Roy Lichtenstein Portrait of Madame Cézanne, 1962 Magna on canvas overall: 172.7 x 142.2 cm (68 x 56 in.) Jason Blum © Estate of Roy Lichtenstein File Name: 3287-068 Roy Lichtenstein Femme d'Alger, 1963 oil on canvas overall: 203.2 x 172.7 cm (80 x 68 in.) The Eli and Edythe L. Broad Collection, Los Angeles © Estate of Roy Lichtenstein File Name: 3287-140 Roy Lichtenstein Non-Objective I, 1964 oil and Magna on canvas overall: 142.9 x 121.9 cm (56 1/4 x 48 in.) The Eli and Edythe L. Broad Collection, Los Angeles © Estate of Roy Lichtenstein For Press Inquiries Only: Phone (202) 842-6353 Page 5 National Gallery of Art Press Office | Roy Lichtenstein: A Retrospective : File Name: 3287-070 Roy Lichtenstein Haystack, 1969 oil on canvas overall: 45.7 x 61 cm (18 x 24 in.) The Ruben Family © Estate of Roy Lichtenstein File Name: 3287-071 Roy Lichtenstein Haystacks, 1969 oil and Magna on canvas overall: 40.6 x 61 cm (16 x 24 in.) The Ruben Family © Estate of Roy Lichtenstein File Name: 3287-154 Roy Lichtenstein Rouen Cathedral, Set 5 (panel 1 of 3), 1969 oil and Magna on canvas panel: 160 x 106.7 cm (63 x 42 in.) San Francisco Museum of Modern Art, Gift of Harry W. and Mary Margaret Anderson © Estate of Roy Lichtenstein File Name: 3287-155 Roy Lichtenstein Rouen Cathedral, Set 5 (panel 2 of 3), 1969 oil and Magna on canvas panel: 160 x 106.7 cm (63 x 42 in.) San Francisco Museum of Modern Art, Gift of Harry W. and Mary Margaret Anderson © Estate of Roy Lichtenstein File Name: 3287-156 Roy Lichtenstein Rouen Cathedral, Set 5 (panel 3 of 3), 1969 oil and Magna on canvas panel: 160 x 106.7 cm (63 x 42 in.) San Francisco Museum of Modern Art, Gift of Harry W. and Mary Margaret Anderson © Estate of Roy Lichtenstein File Name: 3287-001 Roy Lichtenstein Cubist Still Life, 1974 oil and Magna on canvas overall: 228.6 x 173.2 cm (90 x 68 3/16 in.) National Gallery of Art, Washington, Gift of Lila Acheson Wallace © Estate of Roy Lichtenstein For Press Inquiries Only: Phone (202) 842-6353 Page 6 National Gallery of Art Press Office | Roy Lichtenstein: A Retrospective : File Name: 3287-211 Roy Lichtenstein Amerind Figure, 1981 patinated bronze overall: 166.4 x 52.1 x 34.3 cm (65 1/2 x 20 1/2 x 13 1/2 in.) Private collection © Estate of Roy Lichtenstein File Name: 3287-212 Roy Lichtenstein Archaic Head VI, 1988 patinated bronze overall: 148.6 x 47.6 x 25.4 cm (58 1/2 x 18 3/4 x 10 in.) Private collection © Estate of Roy Lichtenstein File Name: 3287-081 Roy Lichtenstein Laocoön, 1988 oil and Magna on canvas overall: 304.8 x 259.1 cm (120 x 102 in.) Private collection © Estate of Roy Lichtenstein File Name: 3287-201 Roy Lichtenstein Modern Sculpture with Velvet Rope, 1968 brass and velvet rope 2 parts: 211.5 x 66 x 38.1 cm (83 1/4 x 26
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]
  • Early Roy Lichtenstein: a Fount of Insight on Postwar America
    Early Roy Lichtenstein: A fount of insight on postwar America By Murray Whyte Globe Staff,Updated May 7, 2021, 47 minutes ago Roy Lichtenstein's "Washington Crossing the Delaware II," from about 1951.ESTATE OF ROY LICHTENSTEIN/COURTESY OF GABRIEL MILLER WATERVILLE, Maine — In 1940, an Ohio State undergraduate named Roy Lichtenstein — yes, that Roy Lichtenstein — made a loose and gestural ink sketch of Paul Bunyan felling a tree with a mighty swing. He passed it off to his roommate with a wink. Keep it, he said. I’m going to be famous someday. Someday came, and famous he was, though not for works like that. In 1961, Lichtenstein made “Look Mickey,” his first-ever appropriation of a four-color pulp illustration. (He lifted it from the 1960 kids’ book “Donald Duck: Lost and Found.”) That anchored him as one of the pillars of the thoroughly American Pop Art movement. But “Roy Lichtenstein: History in the Making, 1948-1960,” at the Colby College Museum of Art, isn’t about any of that. It’s about Lichtenstein before he became Lichtenstein, and it’s a revelation: A fresh view of an artist who reached a saturation point so long ago he can feel as familiar and over-worn as old wallpaper. “History in the Making” is instead unfamiliar, exhilaratingly so, spanning the artist’s long teaching stints in Cleveland and upstate New York, up to a breath before that fateful Mickey steered his course into mass-cultural history. The show captures a young artist in a postwar moment, unmoved by the sunny optimism of a burgeoning American dream and driven to peel back its thin myths.
    [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]
  • LICHTENSTEIN, EN PROCESO Juan Antonio Ramírez
    Todos nuestros catálogos de arte All our art catalogues desde/since 1973 Lichtenstein en proceso 2005 El uso de esta base de datos de catálogos de exposiciones de la Fundación Juan March comporta la aceptación de los derechos de los autores de los textos y de los titulares de copyrights. Los usuarios pueden descargar e imprimir gra- tuitamente los textos de los catálogos incluidos en esta base de datos exclusi- vamente para su uso en la investigación académica y la enseñanza y citando su procedencia y a sus autores. Use of the Fundación Juan March database of digitized exhibition catalogues signifies the user’s recognition of the rights of individual authors and/or other copyright holders. Users may download and/or print a free copy of any essay solely for academic research and teaching purposes, accompanied by the proper citation of sources and authors. www.march.es Fundación Juan March 001-023 Cat Licht Prim Pags 14/11/05 11:45 Página 1 Fundación Juan March 001-023 Cat Licht Prim Pags 14/11/05 11:45 Página 2 Fundación Juan March 001-023 Cat Licht Prim Pags 14/11/05 11:45 Página 3 Roy LICHTENSTEIN Fundación Juan March 001-023 Cat Licht Prim Pags 14/11/05 11:45 Página 4 Roy Lichtenstein en la presentación de su primera retrospectiva en España, que ofreció la Fundación Juan March en 1983. Fundación Juan March 001-023 Cat Licht Prim Pags 14/11/05 11:45 Página 5 LICHTENSTEIN en proceso museo de Arte abstracto español, Cuenca 25 NOVIEMBRE 2005 - 19 FEBRERO 2006 museu d’Art espanyol contemporani, Palma 7 MARZO - 17 JUNIO 2006 Fundación Juan
    [Show full text]
  • Dorothy Lichtenstein (Dl)
    THE MUSEUM OF MODERN ART ORAL HISTORY PROGRAM INTERVIEW WITH: DOROTHY LICHTENSTEIN (DL) NTERVIEWER: AGNES GUND (AG) LOCATION: NEW YORK, NEW YORK DATE: MAY 6, 1998 BEGIN MINICASSETTE MASTER TAPE 1, SIDE A AG: I'd like to thank you, first of all, for doing this. It's very nice of you. The first question that I'd like to ask you is, how did you and Roy meet, the first time? DL: The first time we met, I was working at a gallery, the Bianchini Gallery. That was around the corner from the Castelli Gallery at 4 East 77th Street. We were on 78th Street, and, in fact, that's the gallery that Rosa Esmond has now, Ubu Gallery [16 East 78th Street]. AG: Oh, is that her gallery? DL: Yes. We were doing a show called The Great American Supermarket, based on the fact that so much of the work in the early '60s imitated commercial products and ads, so we thought to set the exhibition up. AG: That's great. And this was a contemporary gallery? DL: Yes. When I started working there, Paul Bianchini owned it, and he did mostly drawing shows of modern masters, but, say, French and Europeans and mostly pre-war, but he would have had Dubuffet and Giacometti. AG: And he was a friend of Leo's [Castelli]. MoMA Archives Oral History: D. Lichtenstein page 1 of 29 DL: Well, he ran this gallery. He knew Leo, and of course it was very exciting. We thought Leo's gallery was the most exciting place.
    [Show full text]
  • Stanford Auctioneers Pop, Modern, Contemporary Art & Photography
    Stanford Auctioneers Pop, Modern, Contemporary Art & Photography Saturday – September 19th, 2015 www.stanfordauctioneers.com | [email protected] 1: JEAN-MICHEL BASQUIAT - Oil pastel and crayon on paper USD 20,000 - 25,000 Jean-Michel Basquiat (American, 1960-1988). "Babylonians". Oil pastel and crayon on paper. c1984. "Signed" in the image with the artist's trademark "crown" logo. Fine condition - as drawn. Provenance: Estate of a private collector, New York City, acquired directly from the artist. Image copyright © Artists Rights Society (ARS), New York. Overall size: 11 5/8 x 16 1/2 in. (295 x 419 mm). [28746] |12000| {R100} (TL3) uzzzz~uozzz 2: JEAN-MICHEL BASQUIAT - Color offset lithograph USD 1,200 - 1,500 Jean-Michel Basquiat (American, 1960-1988). "Dog Bite [postcard edition]". Color offset lithograph. 1983. Signed in black marker. Edition unknown. Wove paper. The full sheet. Fine impression. Fine condition. The painting is in the collection of the Museum Boymans-van-Beuningen, Rotterdam. Image copyright © Artists Rights Society (ARS), New York. Overall size: 4 1/8 x 6 in. (105 x 152 mm). [28720] |800| {R100} (TL1) tuzz~tozz 3: JEAN-MICHEL BASQUIAT - Color lithograph USD 2,000 - 2,500 Jean-Michel Basquiat (American, 1960-1988). "Hamlet". Color lithograph. 1987. Signed in black marker, lower left. Edition unknown, probably very small. Very light cream wove paper. The full sheet. Fine impression. Very good condition. Basquiat posters are rare. We have located only 11 auction sales of his "lifetime" posters at auction, and not our example, which has not been offered before at auction. Issued for the Hartford Stage's production of Shakespeare's "Hamlet" which ran from October 3 to November 7, 1987, Hartford, Connecticut.
    [Show full text]
  • Keith Haring - the Journey of a Steve Chua Graffiti Artist 38 Information the Legend of Lichtenstein 44 out in the Streets
    ISSUE 16 | FEB 2011 FEBRUARY 2011 / 1 Yisulang-Confabu Mar 2011 1/15/11 9:37 AM Page 1 C M Y CM MY CY CMY K 2 / THE POCKET ARTS GUIDE Composite C M Y CM MY CY CMY K FEBRUARY 2011 / 3 CONTENTS 12 34 17 13 C M Y 24 26 44 CM MY 12 COMING UP 17 SPOTLIGHT 50 INTERVIEW CY LAND-TA-MORPHOSIS — Artist in Focus - Farhad Hussain An Interview — What the CMY Second of the Trilogy: Castle :Phunk? Beyond a Mountain 12 K Dorit Feldman: A Solo Exhibition by Art Facet Glimpses: A Solo Exhibition by 26 COVER STORY 61 SINGAPORE BenCab ART MAP The Window Project 13 Pop! Back into the Future with Burton Morris Will Siber: Sculpture, Wall Object & Painting Solo Exhibition By Seah Kang Chui 不变 50 年 Unchanged For 50 64 DIRECTORIES Years 14 34 FEATURES Singapore Art Galleries Other Listings ‘No si hijomiono’o jabesi soré Gurerro Habulan – jajivo’ The Warrior of pop! 34 Tourist Spots Malaysia Art Guide Limelight Blossoms by Keith Haring - The Journey of a Steve Chua Graffiti artist 38 InFORMATION The Legend of Lichtenstein 44 Out in the Streets 4 / THE POCKET ARTS GUIDE C M Y CM MY CY CMY K FEBRUARY 2011 / 5 CONTENTS SPOTLIGHT INTERVIEW SINGAPORE ART MAP 6 / THE POCKET ARTS GUIDE C M Y CM MY CY CMY K FEBRUARY 2011 / 7 Issue #16 (February 2011) ISSN 1793-9739 / MICA (P) 252/09/2010 www.thepocketartsguide.com On the Cover Burton Morris Poparazzi Acrylic on canvas 91.4 x 91.4cm Editor-in-Chief Remo Notarianni / [email protected] Guest Editor Saskia Joosse / [email protected] Art Director Amalina MN / [email protected] Contributors Bharti Lalwani Advertising Sales [email protected] General enquiries and feedback [email protected] Submission of press releases [email protected] THE POCKET ARTS GUIDE PTE LTD (TPAG) 215 Henderson Road, #03-03, Henderson Industrial Park Singapore 048545 For advertising enquiries, please email [email protected].
    [Show full text]
  • Stanford Auctioneers Fine Art, Pop Art, Photographs: Day 1 of 3 Friday – January 26Th, 2018
    Stanford Auctioneers Fine Art, Pop Art, Photographs: Day 1 of 3 Friday – January 26th, 2018 www.stanfordauctioneers.com | [email protected] 1: PAUL KLEE - "M" Garden Gate ["Portail du jardin M"] USD 300 - 400 Paul Klee (Swiss/German, 1879 - 1940). ""M" Garden Gate ["Portail du jardin M"]". Original color collotype. 1932. Printed 1957. Signed in the image, lower left. Felix Paul Klee stamp, verso. Small edition. Thin cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Image size: 8 5/16 x 9 3/16 in. (211 x 233 mm). This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II and its aftermath until 1957. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. [23634-2-225] 2: ANDY WARHOL - $$ [dollar signs] USD 4,000 - 5,000 Andy Warhol (American, 1928 - 1987). "$$ [dollar signs] [drawing]". Marker drawing on paper. c1979. Signed in black marker, lower center. White wove bond paper. The "full sheet". Fine condition. Provenance: Private collector, Sweden, acquired c.1991 possibly from Frederick W. Hughes (Warhol's business manager); thence to our consignor. Overall size: 11 x 8 1/2 in. (279 x 216 mm). Marker drawings of dollar signs by Warhol are scarce/rare. Our example is rare as it was drawn on Warhol’s “Andy Warhol Enterprises, Inc.” letterhead at the Factory (or as it was known then, “the office”). Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York.
    [Show full text]
  • Lichtenstein Why Brad Darling
    ROY LICHTENSTEIN - "Why, Brad Darling" DESCRIPTION Mixed media on paper. Initialled (RL) in pencil on lower-left of image. The sheet measures 21x 21 cm or 8.25 by 8.25 in. The subject work is executed in water- based paint and ink. The image is framed with a border. It is probable that the subject work is a final study for the iconic work, created in 1962. The work is in good condition with minor signs of aging, consistent with a painting on paper from that period. Blog Useful links Wikipedia Artnet.com For more information and pricing, please use the Contact form. Roy Fox Lichtenstein (pronounced /ˈlɪktənˌstaɪn/; October 27, 1923 – September 29, 1997) was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art movement. His work defined the premise of pop art through parody.[2] Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in-cheek manner. His work was influenced by popular advertising and the comic book style. He described pop art as "not 'American' painting but actually industrial painting".[3] His paintings were exhibited at the Leo Castelli Gallery in New York City. Whaam! and Drowning Girl are generally regarded as Lichtenstein's most famous works,[4][5][6] with Oh, Jeff...I Love You, Too...But... arguably third.[7] Drowning Girl, Whaam! and Look Mickey are regarded as his most influential works.[8] His most expensive piece is Masterpiece, which was sold for $165 million in January 2017.[9] Source: https://en.wikipedia.org/wiki/Roy_Lichtenstein E: [email protected].
    [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]
  • Kirk Varnedoe (Kv)
    THE MUSEUM OF MODERN ART ORAL HISTORY PROGRAM INTERVIEW WITH: KIRK VARNEDOE (KV) INTERVIEWER: SHARON ZANE (SZ) LOCATION: THE MUSEUM OF MODERN ART DATE: 28 NOVEMBER 2001 BEGIN TAPE 1, SIDE 1 SZ: I'll start the way I always do, and ask you to tell me where and when you were born, and something about your family background. KV: I was born in Savannah, Georgia, January 18, 1946. I was the youngest of four children, by a good stretch. My two brothers and my sister were six, seven and eight years older than I was, so I was the baby of the family, by a long shot. My parents had both grown up, more or less, in Savannah, although my father wasn't born there. He was an investment banker who had started his own firm in the depths of the Depression, which was an odd thing to do, but he still, when I was growing up, was running it with a partner, as a private investment firm. SZ: Did you say he was not from Savannah? KV: He was born in Tampa, actually. SZ: Well, he was southern, anyway. KV: Yes, he was southern. Definitely. Southern, and with strong Scottish ties; very proud of his Scottish heritage. He was president of the St. Andrew's Society. I grew up with small kilts, piping in front of the haggis -- that sort of thing. MoMA Archives Oral History: K. Varnedoe page 1 of 180 SZ: Golf? KV: He was a very big golfer. He took us to Glen Eagles and St.
    [Show full text]
  • The Robert and Jane Meyerhoff Collection: Selected Works October 1, 2009 - May 2, 2010
    Updated Monday, September 21, 2009 | 4:47:03 PM Last updated Monday, September 21, 2009 Updated Monday, September 21, 2009 | 4:47:03 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 The Robert and Jane Meyerhoff Collection: Selected Works October 1, 2009 - May 2, 2010 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required(*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. 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. Cat. No. 1 / File Name: 2985-195.jpg Title Title Section Raw Cat. No. 1 / File Name: 2985-195.jpg Roy Lichtenstein Roy Lichtenstein Conversation, 1962 Conversation, 1962 graphite on paper; sheet: 32.4 x 27.3 cm (12 3/4 x 10 3/4 in.) graphite on paper; sheet: 32.4 x 27.3Title cm Prefix (12 3/4 x 10 3/4 in.) image: 24.8 x 20 cm (9 3/4 x 7 7/8 in.) image: 24.8 x 20 cm (9 3/4 x 7 7/8 in.) Collection of Robert and Jane Meyerhoff Collection of Robert and Jane MeyerhoffTitle Suffix Title Assembly Conversation Cat.
    [Show full text]