Roy Lichtenstein

Works of art

Roy Lichtenstein, "Moonscape", Corlett 037

Roy Lichtenstein

(Manhattan 1923 - 1997 Manhattan)

"Moonscape"

aus dem Mappenwerk "11 Pop Artists", Bd. I

Farbsiebdruck auf blauem Rowlux 1965

50,5 x 60,8 cm

sign. num. dat.

Auflage ca. 255 Exemplare

Corlett 037

[25325]

Roy Lichtenstein, "Industry and the arts II", Corlett 086

Roy Lichtenstein

(Manhattan 1923 - 1997 Manhattan)

"Industry and the arts II"

Farbsiebdruck 1969

66,2 x 48,4 cm, Abb. 43,6 x 36,4 cm

sign. num. dat.

Auflage 250 Exemplare

Corlett 086

[26359]

Roy Lichtenstein, "Still Life with Picasso", Corlett 127

Roy Lichtenstein

(Manhattan 1923 - 1997 Manhattan)

"Still Life with Picasso"

(Stillleben mit Picasso)

Farbsiebdruck 1973

76,1 x 55,9 cm, Abb. 72,1 x 53,1 cm

sign. num. dat.

Auflage 168 Exemplare

Corlett 127

[26368]

Roy Lichtenstein, "Against Apartheid", Corlett 200

Roy Lichtenstein

(Manhattan 1923 - 1997 Manhattan)

"Against Apartheid"

(Gegen Apartheid)

Farblithographie aus dem gleichnamigen Mappenwerk 1983

85,1 x 60 cm, Abb. 77,6 x 60 cm

sign. num. dat.

Auflage 130 Exemplare

Corlett 200

[25584]

Roy Lichtenstein, "Rain Forest" (Regenwald), Corlett 278

Roy Lichtenstein

(Manhattan 1923 - 1997 Manhattan)

"Rain Forest" (Regenwald)

aus "Columbus: In Search of a new tomorrow"

Farbsiebdruck 1992

76 x 58 cm, Abb. 65,3 x 54,4 cm

sign. dat. bez.

Auflage 166 Exemplare

Corlett 278

[24046]

Roy Lichtenstein, "Brushstroke"

Roy Lichtenstein

(Manhattan 1923 - 1997 Manhattan)

"Brushstroke"

(Pinselstrich)

Multiple aus Lebkuchenteig mit Zuckerglasur, mit Polyester überzogen 1965/71

48,1 x 117 cm x 6,5 cm

sign. num.

Auflage 100 Exemplare

[24255]

Roy Lichtenstein, "Illustration for "Amérique"", Corlett 267

Roy Lichtenstein

(Manhattan 1923 - 1997 Manhattan)

"Illustration for "Amérique""

aus "La Nouvelle Chute de l'Amérique" (The New Fall of America)

Farbaquatintaradierung auf Arches 1992

48,1 x 35,4 cm, Pr. 37,5 x 27,9 cm

sign. num.

Auflage ca. 175 Exemplare

Corlett 267

[23328]

Roy Lichtenstein, "Illustration for "Hüm Bum!"", Corlett 274

Roy Lichtenstein

(Manhattan 1923 - 1997 Manhattan)

"Illustration for "Hüm Bum!""

aus "La Nouvelle Chute de l'Amérique" (The New Fall of America)

Farbaquatintaradierung auf Arches 1992

48,1 x 35,4 cm, Pr. 37,5 x 27,9 cm

sign. num.

Auflage ca. 175 Exemplare

Corlett 274

[23332]

Roy Lichtenstein, "Illustration for "De Denver au Montana, Départ 27 Mai 1972" (I)", Corlett 275

Roy Lichtenstein

(Manhattan 1923 - 1997 Manhattan)

"Illustration for "De Denver au Montana, Départ 27 Mai 1972" (I)"

aus "La Nouvelle Chute de l'Amérique" (The New Fall of America)

Farbaquatintaradierung 1992

35,5 x 48,2 cm, Pr. 28 x 37,7 cm

sign. num.

Auflage ca. 175 Exemplare

Corlett 275

[23874]

Roy Lichtenstein, "Landscape 7", Corlett 57

Roy Lichtenstein

(Manhattan 1923 - 1997 Manhattan)

"Landscape 7"

aus der Serie "Ten Landscapes" (C 51-60)

Farbsiebdruck mit Collage 1967

27,3 x 46,4 cm

sign. num. dat.

Auflage 110 Exemplare

Corlett 57

[23418]

Roy Lichtenstein, "Landscape 10", Corlett 60

Roy Lichtenstein

(Manhattan 1923 - 1997 Manhattan)

"Landscape 10"

aus der Serie "Ten Landscapes" (C 51-60)

Farbsiebdruck und Collage 1967

39,2 x 42 cm

sign. num. dat.

Auflage 110 Exemplare

Corlett 60

[23411]


Biography

Roy Lichtenstein

Roy Fox Lichtenstein (Manhattan, New York 1923–1997 Manhattan, New York) is – together with Andy Warhol – probably the most famous representative of American Pop Art. His Benday dots and Brushstroke works are world-famous, as are his motifs borrowed from the world of art, comics and consumption. His works have become icons of twentieth century art.

In 1961, Lichtenstein painted his first Pop images, for which he transferred cartoon figures from comic books and chewing gum wrappers directly onto canvas, albeit with small but revealing changes.

He experimented a great deal and imitated industrial printing techniques. The phenomena of industrial mass production and mass media advertising techniques became sources of inspiration. They fascinated him, but at the same time expressed his critical approach to them. Instead of coloured surfaces, he juxtaposed equally-sized coloured dots. These ‘Benday dots’ – named after the American artist and inventor Benjamin Day, who developed them for industrial illustrations – became Roy Lichtenstein’s trademark in both painting and printmaking. In addition to the typical Benday dots, the schematised system of lines and surfaces is also characteristic of his work.

Everything depicted is strongly stylised and limited by strong black outlines. The details are reduced to the minimum. Sculpturally modelled interior drawing is almost completely missing. As a result, but also due to the monochrome colour areas and the neutral background, the motifs appear very flat. Everyday actions and utilitarian objects are monumentalised. The persons depicted lack any individuality.

And it is almost always typical things, well-known through countless reproductions and clichés, that Lichtenstein chooses as the basis of his pictures: appropriated from art history and comics or everyday life.

In 1995, he was awarded the Kyoto Prize, one of the highest awards for services to science and culture.


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