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  • Literature

    Mary Lee Corlett 239

  • Catalogue Essay

    Roy Lichtenstein
    Lots 92-104
    A selection of works from 1965-1996


    In a trip through art history Roy Lichtenstein was the ultimate voyager. As he painted during the postwar period, global travel, television and newsreels condensed the art of far-flung places and far-off times into pictures made universally accessible to the public for the first time. To cultural theorists questioning whether or not high culture and low art could ever be unified, Lichtenstein offered the bold quotation of pleasurable subjects as a serious answer. He borrowed motifs from art history, art deco hotels, movie theaters and cruise ships; in bright, friendly colors his prints and paintings manufactured pastiches like those mass media replicated on screens.

    Lichtenstein believed in the art object’s democracy and “smiled at the idea of making a mechanical Monet”; within just one year of his painting he not only took on the subject of modern masters (Picasso, Pollock et al.) but also comic book reproductions. Lichtenstein elaborated that his work was “an involvement with what I think to be the most brazen [. . .] characteristics of our culture . . .which are also powerful in their impingement upon us . . .”

  • Artist Biography

    Roy Lichtenstein

    One of the most influential and innovative American artists of the post-war period, Roy Lichtenstein ushered in the prominence of Pop Art through his high-impact representations of consumer imagery, common entertainment, and the accoutrements of contemporary life rendered in the Ben-Day dots of contemporary comic strips. Central to Lichtenstein’s practice was parody, which enabled the artist to engage with often-disparaged commercial source imagery from an ironic distance as he considered the nature of the banal and probed the boundaries of what fine art could be.

     

    While Lichtenstein’s early Pop work cemented his status as one of the main figures of one of the most iconic and original movements of postmodernism, he continued to develop his practice over the course of the following decades until his death in 1997. Retaining his characteristic comic style and ironic distance, Lichtenstein engaged new and disparate influences from Abstract Expressionism to Chinese landscape painting to evolve the subject of his own work and consider the contradictions of representation, style, and substance. Lichtenstein is a central figure in the 20th century art historical canon and accordingly his work is represented in the collections of major museums worldwide, including The Museum of Modern Art, New York; Tate, London; and Centre Pompidou, Paris.

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92

Reflections on Crash, from Reflections Series

1990
Lithograph, screenprint, relief and metallized PVC collage with embossing in colors, on Somerset paper, with full margins.
I. 53 x 69 in. (134.7 x 175.4 cm)
S. 59 3/8 x 75 1/8 in. (150.7 x 190.8 cm)

Signed, dated and numbered 30/68 in pencil (there were also 16 artist's proofs), published by Tyler Graphics Ltd., Mount Kisco, New York (with their blindstamp), framed.

Estimate
$100,000 - 150,000 

Sold for $175,000

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Evening & Day Editions

New York Auction 17 October 2018