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Roy Fox Lichtenstein [2] (/ ˈ l ɪ k t ən ˌ s t aɪ n /; October 27, 1923 – September 29, 1997) was an American pop artist.He rose to prominence in the 1960s through pieces which were inspired by popular advertising and the comic book style.
[5] Lichtenstein's sketch for the work was done in graphite and colored pencils on paper in a 4 3/4 x 4 3/4 inches (12.1 x 12.1 cm) scale. [6] In the early 1960s, Lichtenstein produced several "fantasy drama" paintings of women in love affairs with domineering men causing women to be miserable, such as Drowning Girl, Hopeless and In the Car.
Whaam! is a 1963 diptych painting by the American artist Roy Lichtenstein. It is one of the best-known works of pop art, and among Lichtenstein's most important paintings. [1] Whaam! was first exhibited at the Leo Castelli Gallery in New York City in 1963, and purchased by the Tate Gallery, London, in 1966.
Masterpiece is regarded as a tongue-in-cheek joke that reflects upon Lichtenstein's own career. [5] In retrospect, the joke is considered "witty and yet eerily prescient" because it portended some of the future turmoil that the artist would endure. [7] In the painting, the blonde woman's speech bubble, "Why, Brad darling, This painting is a ...
Lichtenstein used only a few basic colors, with the same red being used for the fingernails, lips, drapes, and wall, while the same yellow provided the color for the hair and the lampshade. [4] Although the painting is considered "a fully characteristic painting, conceptually and manually", it is not as poised a composition as his subsequent ...
There are five different paintings listed on the Lichtenstein Foundation website under the title Expressionist Head. Three are from 1980, while one each is from 1982 and 1984. [ 9 ] Another work by the same name had sold at Christie's , New York on November 18, 1997 for $ 300,000 USD.
As I Opened Fire (sometimes As I Opened Fire...) is a 1964 oil and magna on canvas painting by Roy Lichtenstein.The work is hosted at the Stedelijk Museum in Amsterdam.The source of the subject matter is Jerry Grandenetti's panels from "Wingmate of Doom," in All American Men of War, no. 90 (March–April 1962), DC Comics.
The use of the artist's paintbrush to create enormous renditions of house-painter brushstrokes in the quasi-mechanical Lichtenstein style is a commentary on his own painting actions. [12] The series was a response to the Pop Art critics of the day, who were mostly abstract expressionist.