ARTIST ROOMS ROY LICHTENSTEIN
ARTIST ROOMSROY LICHTENSTEINRESOURCE PACK
ABOUT THIS RESOURCECONTENTSRoy Lichtenstein was one of the most influentialAmerican artists to emerge in the post-war period.ARTIST ROOMS currently holds a collection of latescreenprints by Lichtenstein on long-term loan fromthe Roy Lichtenstein Foundation, while the paintingReflections: ART, 1988 is lent by a private collection,courtesy of the Roy Lichtenstein Foundation, 2015.This ARTIST ROOMS collection of works byRoy Lichtenstein has been made possible thanksto the generosity of the Roy Lichtenstein Foundation.What is ARTIST ROOMS? 03Roy Lichtenstein 041. POP 062. PROCESS 093. ON ART 124. MUSIC 155. THE NUDE 176. REFLECTIONS 207. TEXT AND ART 23Find Out More 25Glossary 26In addition to the works on loan to the ARTIST ROOMScollection, Lichtenstein is a significant artist in bothNational Galleries of Scotland’s and Tate’s collections.National Galleries of Scotland holds the importantearly comic book painting, In the Car, 1963 along withtwo prints, and an example of wallpaper produced bythe artist in 1968. Tate holds 35 works by Lichtensteinincluding the iconic Whaam!, 1963, Wall Explosion II,1965 and Interior with Waterlilies, 1991.This resource is designed to aid teachers and studentsusing the ARTIST ROOMS Roy Lichtenstein collection.The resource focuses on specific works and themesand suggests areas of discussion, activities and linksto other artists in the collection.For schools, the work of Roy Lichtenstein presents agood opportunity to explore cross-curricula learning.The themes in Lichtenstein’s work can be linked tocurricula areas such as English, mathematics, healthand wellbeing, social studies, citizenship and science.A glossary at the back of the resourceprovides further information on keywords, terms and people associatedwith Lichtenstein and related themes.
Produced by Rosie Lesso and Christopher GanleyDesigned by ur studioSpecial thanks to Dorothy Lichtenstein, Jack Cowart, Anthony d’Offay,Marie-Louise Laband, Claire Bell, Shelley Lee, Lucy Askew andClare Jane Morris.WHAT IS ARTIST ROOMS?ARTIST ROOMS is a collection of internationalcontemporary art, which has been created throughone of the largest and most imaginative gifts of artever made to museums in Britain. The gift was madeby Anthony d’Offay, with the assistance of theNational Heritage Memorial Fund, the Art Fundand the Scottish and British Governments in 2008.ARTIST ROOMS is jointly owned and managed byTate and National Galleries of Scotland on behalfof the nation and comprises over 1100 artworks.The collection takes the form of major bodies ofwork by artists including Louise Bourgeois, AnselmKiefer, Ed Ruscha and Douglas Gordon. The guidingconcept of ARTIST ROOMS is to show the work ofindividual artists in dedicated, monographic displays.Anthony d’Offay’s vision for ARTIST ROOMS is that greatworks of art should be available to audiences anywherein the country, and especially for young people. Thisidea developed from Anthony’s own discovery of artas a child in Leicester and as a student at EdinburghUniversity, experiences which shaped his life.The collection is available to regional galleries andmuseums (“Associates”) throughout the UK, providingan unprecedented resource with a particular focus oninspiring young audiences.Cover image: Roy Lichtenstein Reflections: Art 1988Oil and Magna on canvasUnless specified, all works are credited: ARTIST ROOMS Tate andNational Galleries of Scotland. Lent by The Roy Lichtenstein FoundationCollection 2015. All images: Estate of Roy Lichtenstein/DACS 2015Except: Reflections: Art 1988ARTIST ROOMS: Tate and National Galleries of Scotland. Lent byPrivate Collection, courtesy of the Roy Lichtenstein Foundation, 2015In the Car, 1963Scottish National Gallery of Modern Art, purchased 1980Reverie (From 11 Pop Artists portolio, volume II), 1965Scottish National Gallery of Modern Art, purchased 1975Whaam! 1963Tate, purchased 196803
ROY LICHTENSTEINRoy Fox Lichtenstein was born inNew York City, USA in 1923 to JewishGerman immigrants. As a child heshowed an early interest in art, scienceand music, and in 1936 he enrolled atFranklin School for boys. The schoolhad no art teaching provision and thefollowing year he attended watercolourclasses at New York School of Fineand Applied Art where he began topaint still lifes. Meanwhile his musicalinterests developed through clarinetlessons and by visiting jazz clubs. In1940 he attended painting classes at theArt Students League in New York, andenrolled as an undergraduate studentat Ohio State University (OSU) in theCollege of Education.In 1957 Lichtenstein and his youngfamily returned to New York wherehe became assistant professor at StateUniversity of New York, Oswego,teaching industrial design. During thisperiod he began to make drawings ofcartoon images such as Mickey Mouseand Donald Duck, at first combiningthem in paintings with AbstractExpressionist brushwork. In 1960 heaccepted an assistant professorship ofart position at Douglass College,Rutgers, State University of New Jersey,where he got to know Allan Kaprow.Lichtenstein attended several‘happenings’ organised by Kaprow,who inspired him to concentrate on hiscomic book images.Lichtenstein was inducted into militaryservice in 1943 and while in service,he travelled to London and Paris wherehe saw works by artists such as PaulCézanne and Toulouse-Lautrec. Afterthe war he returned to the USA, andcompleted his degree. He joined theOSU School of Fine and Applied Arts asan instructor. In 1951 he had his first soloexhibition in New York at CarlebachGallery and later that year moved toCleveland, Ohio.Lichtenstein made his first Pop Artpainting, Look Mickey, in 1961.That same year the influential artdealer Leo Castelli began to representLichtenstein and included one ofhis paintings in a group exhibition.He used a perforated metal screenfor the first time in 1962 to make theBenday dots, he had previously paintedby hand.04The following year Lichtenstein wasincluded in the important exhibition,Six Painters and the Object, at theSolomon R. Guggenheim Museum,curated by Lawrence Alloway alongsideartists such as Andy Warhol, Jim Dineand Jasper Johns.In 1966 Lichtenstein was one of fiveartists selected to represent the USA atthe Venice Biennale and had his firstsolo exhibition at Cleveland Museum ofArt. In 1967 he had his first Europeanretrospective at the Stedelijk Museum,Amsterdam. The exhibition would latertravel to three other museums includingthe Tate Gallery, which famouslyacquired the painting Whaam! 1963in 1968. Lichtenstein began working onhis first series of prints, Haystacks, andRouen Cathedral, (both based on thework of Claude Monet) working withGemini G.E.L. in Los Angeles. He hada retrospective exhibition in New Yorkat the Guggenheim Museum in 1969,which included paintings and sculptures.During the 1970s he continued to makeprints and paintings in homage to majormovements and figures in modern art.His print series from the early 1970sincludes Entablatures, a black and whiteseries referencing neo-classical buildings.His painting series included Still Lifes,many of which made references toCubist painters and specifically PabloPicasso. He also made a film andcreated his first large-scale outdoorsculpture, Modern Head, 1974, inArcadia, California. In 1977 he begana series of paintings based on worksby Surrealist artists, including Max Ernstand Salvador Dalí, and Surrealist worksby Picasso.The Museum of Modern Art, New Yorkstaged a drawing retrospective in 1987,the first drawings exhibition by a livingartist to be held at the museum. Theexhibition toured the USA and Europe. In1988 he began to make the Reflectionsseries of paintings in his studio inSouthampton, New York, and later wenton to work on a series of prints at theTyler Graphics Inc. In the early 1990sLichtenstein began his Interiors series andin 1996 he presented his Landscapes inChinese style at the Castelli Gallery. Hedied unexpectedly in New York in 1997.The Art Institute of Chicago and Tatepresented Lichtenstein: A Retrospective,his first full-scale retrospective in overtwenty years, in 2012-13.05
POPIn the late 1950s Roy Lichtenstein madea series of drawings based on iconicDisney characters including MickeyMouse, Bugs Bunny and Donald Duck.In the first of these drawings Lichtensteinused comic book style renderingamidst expressionistic surfaces. Helater dropped the painterly interferenceand focused on the drawing. Thesesmall drawings were the beginning ofLichtenstein’s fascination with the graphicimages infiltrating American society inthe 1960s. Enlarging his comic bookstyle images into oil paintings provedpivotal in the development of his career.Lichtenstein later concentrated onmore banal and anonymous sourcessuch as small advertisements innewspapers, illustrated items in mailorder catalogues, or romance and warcomic book images, which he scaledup into large format oil paintings.Aesthetically, Lichtenstein admired thestrong silhouettes and flattened designsof advertisements and comic books inthe way the Cubists admired Africanart fifty years earlier. Conceptually, hedrew attention to the ways they reflectedmodern American cultural identity – postwar everyday images presented an idealway of living and comic book excerptsreplicated the glamour and artifice ofarchetypal American society.In 1961 Lichtenstein joined the LeoCastelli Gallery after meeting therenowned gallerist Leo Castelli, and thegallery director, Ivan Karp. Castelli andKarp readily identified with Lichtenstein’sflat, lean approach to painting, whichwas in stark contrast to the spatial andatmospheric work made by his AbstractExpressionist contemporaries. Whenthe gallery exhibited Lichtenstein’s newpaintings in 1962, his work prompted amixed reaction.1 Despite the mixed publicresponse Lichtenstein’s images reflecteda surge of interest by artists, includingRobert Rauschenburg, Jasper Johns andAndy Warhol, in the messages andproducts of mass communication.In the Car, 1963, is one of a number ofpaintings from the early 1960s featuringwomen caught up in dramas with alphamale characters. Its source was takenfrom the September 1961 comic bookseries Girls’ Romances #78, publishedby Signal Publishing Corp. Behind theglassy veneer of the car window thefashionable gender roles of the timeare set in contrast – the glamorousyet submissive blonde woman is sweptaway by the handsome yet deviousdark haired man – reinforcing thecultural divide between them. Twoversion of this painting were produced,the second, larger version of whichis now in the National Galleries ofScotland’s collection.Lichtenstein first exhibited In the Car inhis second solo exhibition at Leo CastelliGallery from September 28 – October24 1963.Roy Lichtenstein In the Car, 1963Magna on canvas[1] Paul Cummings, Oral History interview with Ivan C. Karp, 1969, Mar. 12, Washington, D.C. Archives of American Art, SmithsonianInstitution: history-interview-ivan-c-karp-11717#transcript, Accessed 24 February 2015.0607
DiscussionLike many Pop artists, Lichtensteinappropriated a wide range of printedsources in his drawings and prints,including comic book captions andgraphic designs by other artists. Whatquestions does Lichtenstein raise in hiswork about the role of authorship inmodern and contemporary art?ActivityLichtenstein chose memorable, yetsmall graphic images from the massRoy Lichtenstein Drawing for ‘Whaam!’, 1963Graphite pencil on papermedia to base his paintings on, whichreflected aspects of American identityin the 1960s. Carefully select a smallprinted image which you feel reflectssomething about contemporary societyto use as a starting point for a largepainting, print or drawing project.Artist LinkAndy Warhol was fascinated by thegraphic language of advertising. Findout more about Andy Warhol: nstein experimented with a varietyof painting techniques as a young artist.In the 1960s, he developed a seriesof processes for creating artworks thatlooked machine made, but were in factcarefully designed and rendered byhand. In an interview with John Coplansfor Artforum in 1967 Lichtenstein said,‘I want to hide the record of my hand.’2To create his designs Lichtensteindeveloped systems for imitating but notcopying his graphic or cartoon sources.First he would sketch the image, makinghis own changes, then he would tracethis drawing onto canvas using anopaque projector, while continuing torecompose the image. Finally he wouldpaint this image using broad areasof flat Magna paint, strong contoursand areas filled with Benday dots. Thisthree part process gave Lichtensteinboundaries within which to work, butenough freedom to take ownership overthe final design.In Drawing for Whaam! and Whaam!,both 1963, we see the strong relationshipbetween the sketch, or study, and thefinal painting. Close inspection revealsthe minor processes of refinementthat Lichtenstein has carried out whentranslating his sketch onto a large canvas,in order to create an image with the mostpowerful visual impact. The final paintingis one of Lichtenstein’s most well-knownartworks and is part of a body of workbased around the theme of war, producedbetween 1962 and 1964.Lichtenstein first made use of histrademark Benday dots in 1961.3 Theyreinforced the printed nature of his sourcematerial and reminded viewers that theywere once removed from the subject ofthe work, as he explained, ‘.the dotscan have a purely decorative meaning,or they can mean an industrial way ofextending the colour, or data information,or finally that the image is a fake.’4As well as producing paintings,Lichtenstein also created a number oflimited edition prints from the 1960sonward, exploring technical innovationsin lithography, screenprinting andwoodcutting. He often combinedmultiple printing techniques in oneimage, or printed onto unconventionalsurfaces such as acetate or stainlesssteel. Wallpaper, 1968, was evenscreenprinted onto fabric backed metallicfoil. He worked with a range of masterprintmaking studios including GeminiG.E.L., Los Angeles; Tyler Graphics,Mount Kisco, New York and Donald Saffat Saff Tech Arts, Oxford, Maryland.[2] John Coplans, Roy Lichtenstein: Graphics, Reliefs and Sculptures, 1969–1970, Exhib. cat., Irvine: University of California, Irvine;Los Angeles: Gemini G.E.L., 1970, p.8.[3] The use of halftone printing, using black dots on white in varying sizes to produce grey tones can be traced back to printing methodsin the 1850s. In 1879 Benjamin Day, Jr., developed a colour printing technique for applying patterned dots to plates prior to printing,hence the origin of the term ‘Benday’. From the 1880s onward, both halftone and Benday processes became popular for the printing ofnewspapers, pictures, book illustrations and comic books.[4] Graham Bader, ed., Roy Lichtenstein. October Files 7., Cambridge, Mass.: MIT Press, 2009, p. 36.0809
Roy Lichtenstein Whaam!, 1963Magna on canvas1011
DiscussionLichtenstein has now become widelyrecognised for his use of Bendaydots and they have influenced manycontemporary artists since. How dothey effect the interpretation of hissubject matter?ActivitySystems of pattern and design playedan important role in Lichtenstein’sartworks. Think of the ways you coulduse elements of repetition, pattern andgeometry to create an artwork with amachine-made quality.Artist LinkThe contemporary artist DamienHirst has frequently made use ofsystems and patterns in his artworksto distance the traces of his handin their production. Find out moreabout Damien Hirst at: www.nationalgalleries.org/artistroomsRoy Lichtenstein Reverie (From 11 Pop Artists portolio, volume II), 1965Screenprint on smooth, white wove paper[5] Graham Bader, ed., OCTOBER Files 7: Roy Lichtenstein, The MIT Press Cambridge, Mass., and London, 2009, p.61.[6] See Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction, translated by J.A. Underwood, Penguin Great Ideas, 2008.Lichtenstein’s approach to reproducing artworks is echoed in the German cultural critic Walter Benjamin’s essay, The Work of Art in the Age ofMechanical Reproduction (1936), which examined the shifting role of art in the face of mass media.12ON ARTThroughout his career Lichtenstein madepaintings based on masterpieces bythe giants of modern art, including PaulCézanne, Piet Mondrian, Pablo Picassoand Claude Monet. He drew on thelong tradition of appropriation thatexists in art history; as he pointed out,‘Artists have often converted the workof other artists into their own style.’5Lichtenstein was also well aware that hisown appreciation of these masterpiecescame from printed reproductions ratherthan originals, hence the mechanical andpixelated quality in many of his copies.6Water Lilies with Cloud, 1992 is one ofsix prints Lichtenstein made on stainlesssteel influenced by Claude Monet’s‘Nympheas’ paintings. Lichtenstein madehis first works based on Monet’s paintingsin 1969, with a set of prints based onboth his Cathedral and Haystack series.He was interested in the paradox thatsurrounded Monet’s works, which wereon the one hand highly subjective andintuitive, while on the other hand reliant intheir repetition. He also shared Monet’sfascination with reflective surfaces,which he had explored through paintingthe surface of water. Yet Lichtenstein’sMonet reproductions remain distinctlymechanical, as he explains, ‘It’s anindustrial way of making Impressionism– or something like it – by a machineliketechnique.’7Like many young artists in the mid 1960sLichtenstein offered an alternative to theideas of pre and post war Modernism.His work demonstrates that the dialoguecould be continued in a variety of ways.The fragmented pictorial languageof Picasso’s Cubism also featuredprominently in Lichtenstein’s paintings.Modern Art I, 1996, is one of a seriesof Modern Art prints made in 1996, theyear before the artist died. Lichtensteinexplores the Cubist style, but his comicbook imagery and Benday dots allowhim to make the image his own. Whentalking about another similar paintingmade in 1963 titled Woman withFlowered Hat, he said, ‘What I ampainting is a kind of Picasso done theway a cartoonist might do it the Picassois converted to my pseudo-cartoon styleand takes on a character of its own.’8Despite the ironic quality in his ModernArt paintings, Lichtenstein’s own strongcontours and flat shapes were inescapablyindebted to Picasso, who Lichtenstein hadrespected throughout his career. One ofthe first exhibitions he saw as a young manwas a Picasso retrospective – Picasso’sblue and rose periods subsequentlyinfluenced Lichtenstein’s early drawings. Asan older artist, he often mimicked Picasso’sstyles and even admitted, ‘I don’t thinkthere is any question that Picasso is thegreatest figure of the twentieth century ’.9[7] John Coplans ed., Roy Lichtenstein., New York: Praeger Publishers, 1972, p.102.[8] Graham Bader, ed., OCTOBER Files 7: Roy Lichtenstein, The MIT Press, Cambridge, Mass., and London, 2009, p.61.[9] Jack Cowart, Roy Lichtenstein: Beginning to End, exhibition catalogue for Fundacion Juan March, Madrid,February 2 – May 20, 2007, p.92.13
DiscussionLichtenstein made many artworksbased on the work of other artiststhroughout his career and theyencourage us to consider the originalsin a new light. What do his quotationsof both Monet’s and Picasso’s work tellus about the originals? Can we learnanything new about them throughLichtenstein’s copies?ActivityCopying the work of other artistshas been an important lesson formany artists throughout history.Find an artists’ work that you admireand explore the ways that you cancopy it, whilst bringing somethingnew to your reproduction.Artist LinkLike Lichtenstein, the American artistAlex Katz was greatly influenced byClaude Monet and made numerouspaintings in homage to him.Find out more about Alex Katz at:www.nationalgalleries.org/artistr
the Roy Lichtenstein Foundation, while the painting Reflections: ART, 1988 is lent by a private collection, courtesy of the Roy Lichtenstein Foundation, 2015. This ARTIST ROOMS collection of works by Roy Lichtenstein has been made possible thanks to the generosity of the Roy Lichtenstein Foundation.
Roy Lichtenstein Born: October 27. 1923 Active: ca. 1945 - 1997 Died: September 29, 1997 Interesting facts about Roy Lichtenstein Lichtenstein's work is often characterized by his use of Ben-Day dots. These dots were hand-painted in Lichtenstein's' work, but he also used stencils to maintain size and spacing. Ben-day and halftone dots
National Gallery of Art Press Office Roy Lichtenstein: A Retrospective: Cat. No. 7 Roy Lichtenstein Brushstroke with Still Life VII, 1996 oil and Magna on canvas overall: 76.2 x 76.2 cm (30 x 30 in.) . Roy Lichtenstein Whaam!, 1963 oil and Magna on canvas overall: 172.7 x 421.6 cm (68 x 166 in.), two panels .
Tell students that you will be discussing Roy Lichtenstein, his artwork, his inspiration for his art and his methods of creating his art. They will be creating their own cartoon self portrait in the style of Lichtenstein. About the Artist Roy Lichtenstein (1923-1997) was a American painter who is well known for his pop art depictions of everyday
Learn about cartoon portrait drawing. Understand facial proportions and create a comic self portrait in the style of Lichtenstein. Learn about Lichtenstein’s emphasis on methods of mechanical reproduction - particularly through his signature use of Ben-Day dots. SUPPLIES Images and art samples of the work of Roy Lichtenstein.
Lichtenstein pop art STILL-LIFE Lichtenstein was inspired by the abstraction (and Picasso) when creating his art. Fusing two styles of art allowed Lichtenstein to carve out his own style. This project uses a selection of materials but there is no right way for children to use them. This lesson is a suggestion for a streamlined
3d artist magazine free. 3d artist magazine subscription. 3d artist magazine back issues. 3d artist magazine uk. 3d artist magazine tutorial. 3d artist magazine france. What happened to 3d artist magazine. 3d artist magazine website. Show season is upon us and the animation festivals, expos and conferences are underway. Now is a great time to .
The artists of pop art furthered its fame, as their creative and distinctive styles permeated the art scene. Main artists included Andy Warhol, Roy Lichtenstein, Claes Oldenberg, Jasper Johns, and Robert Rauschenberg. Roy Lichtenstein w as a painter, sculptor, printmaker, and decorative artist. His work is most distinctive for its use of
Albert woodfox Arthur Kinoy Award A Message from NYU PILC At every NLG #Law4thePeople Convention, we honor members and friends of the Guild whose exemplary work and activism capture the spirit of “law for the people,” and speak to the Guild’s philosophy of human rights over property interests. Please join us in congratulating our 2016 honorees! Workshops Tentative Schedule Felon .
