Lichtenstein, Roy - Artist's Studio 'The Dance' (1974) - art postcard (Tate)

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^{Text from the free encyclopedia WIKIPEDIA may appear below to give a little background information (internal links may not  work) :}

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Roy Fox Lichtenstein[1] (/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. His artwork was considered to be "disruptive".[3] He described pop art as "not 'American' painting but actually industrial painting".[4] 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.[5][6][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]

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In the early 1960s, Lichtenstein reproduced masterpieces by Cézanne, Mondrian and Picasso before embarking on the Brushstrokes series in 1965.[55] Lichtenstein continued to revisit this theme later in his career with works such as Bedroom at Arles that derived from Vincent van Gogh's Bedroom in Arles.

In 1970, Lichtenstein was commissioned by the Los Angeles County Museum of Art (within its Art and Technology program developed between 1967 and 1971) to make a film. With the help of Universal Film Studios, the artist conceived of, and produced, Three Landscapes, a film of marine landscapes, directly related to a series of collages with landscape themes he created between 1964 and 1966.[56] Although Lichtenstein had planned on producing 15 short films, the three-screen installation – made with New York-based independent filmmaker Joel Freedman – turned out to be the artist's only venture into the medium.[57]

Also in 1970, Lichtenstein purchased a former carriage house in Southampton, Long Island, built a studio on the property, and spent the rest of the 1970s in relative seclusion.[58] In the 1970s and 1980s, his style began to loosen and he expanded on what he had done before. Lichtenstein began a series of Mirrors paintings in 1969. By 1970, while continuing on the Mirrors series, he started work on the subject of entablatures. The Entablatures consisted of a first series of paintings from 1971 to 1972, followed by a second series in 1974–76, and the publication of a series of relief prints in 1976.[59] He produced a series of "Artists Studios" which incorporated elements of his previous work. A notable example being Artist's Studio, Look Mickey (1973, Walker Art Center, Minneapolis) which incorporates five other previous works, fitted into the scene.[1]

During a trip to Los Angeles in 1978, Lichtenstein was fascinated by lawyer Robert Rifkind's collection of German Expressionist prints and illustrated books. He began to produce works that borrowed stylistic elements found in Expressionist paintings. The White Tree (1980) evokes lyric Der Blaue Reiter landscapes, while Dr. Waldmann (1980) recalls Otto Dix's Dr. Mayer-Hermann (1926). Small colored-pencil drawings were used as templates for woodcuts, a medium favored by Emil Nolde and Max Pechstein, as well as Dix and Ernst Ludwig Kirchner.[60] Also in the late 1970s, Lichtenstein's style was replaced with more surreal works such as Pow Wow (1979, Ludwig Forum für Internationale Kunst, Aachen). A major series of Surrealist-Pop paintings from 1979 to 1981 is based on Native American themes.[61][62] These works range from Amerind Figure (1981), a stylized life-size sculpture reminiscent of a streamlined totem pole in black-patinated bronze, to the monumental wool tapestry Amerind Landscape (1979). The "Indian" works took their themes, like the other parts of the Surrealist series, from contemporary art and other sources, including books on American Indian design from Lichtenstein's small library.[63]

Lichtenstein's Still Life paintings, sculptures and drawings, which span from 1972 through the early 1980s, cover a variety of motifs and themes, including the most traditional such as fruit, flowers, and vases.[64] In 1983 Lichtenstein made two anti-apartheid posters, simply titled "Against Apartheid".[65][66] In his Reflection series, produced between 1988 and 1990, Lichtenstein reused his own motifs from previous works.[67] Interiors (1991–1992) is a series of works depicting banal domestic environments inspired by furniture ads the artist found in telephone books or on billboards.[68] Having garnered inspiration from the monochromatic prints of Edgar Degas featured in a 1994 exhibition at the Metropolitan Museum of Art in New York, the motifs of his Landscapes in the Chinese Style series are formed with simulated Benday dots and block contours, rendered in hard, vivid color, with all traces of the hand removed.[69] The nude is a recurring element in Lichtenstein's work of the 1990s, such as in Collage for Nude with Red Shirt (1995).

In addition to paintings and sculptures, Lichtenstein also made over 300 prints, mostly in screenprinting.[70]