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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.
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.
Paintings by the American artist Roy Lichtenstein. Pages in category "Paintings by Roy Lichtenstein" The following 52 pages are in this category, out of 52 total.
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 ...
Bedroom at Arles is a 1992 oil and Magna on canvas painting by Roy Lichtenstein based on the Bedroom in Arles series of paintings by Vincent van Gogh. He painted it in July 1992. [1] It is the only quotation of another painting that Lichtenstein did of an interior. It is located on the Fitzhugh Farm in Maryland in the Robert and Jane Meyerhoff ...
Little Big Painting is a 1965 oil and Magna on canvas pop art painting by Roy Lichtenstein. It is part of the Brushstrokes series of artworks that include several paintings and sculptures. It is located at the Whitney Museum of American Art in New York City.
Drowning Girl (also known as Secret Hearts or I Don't Care!I'd Rather Sink) is a 1963 American painting in oil and synthetic polymer paint on canvas by Roy Lichtenstein, based on original art by Tony Abruzzo.
Look Mickey (also known as Look Mickey!) is a 1961 oil on canvas painting by Roy Lichtenstein.Widely regarded as the bridge between his abstract expressionism and pop art works, it is notable for its ironic humor and aesthetic value as well as being the first example of the artist's employment of Ben-Day dots, speech balloons and comic imagery as a source for a painting.