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Presents a biography of Roy Lichtenstein

COLLECTORS COPY NEW, SEALED IN ORIGINAL WRAP. 248 pp., 199 color and b&w illustrations. Many full color images of Roy Lichtenstein's sculpture and drawings, with essays by Jack Cowart, Dorothy Lichtenstein, Cassandra Lozano, Naomi Spector, and Agustin Arteaga, with a chronology by Clare Bell. Published on the occasion of the retrospective at the Corcoran Museum of Art, 1999.[New York, NY]

Roy Lichtenstein’s masterful Pop Art posters from 1962 to 1997 are showcased in this collection of 68 full-color reproductions. Lichtenstein’s art is most recognizable for its trademark benday dots and two-dimensional planes, cartoonlike qualities that placed him at the forefront of the American Pop Art scene. With its emphasis on consumer culture, Lichtenstein’s style lent itself easily to the poster genre. This volume opens with his earliest poster, designed for his first exhibition at Leo Castelli Gallery in 1962, and closes with his last, which he completed the year of his death. An additional section features reproductions from the Claus von Olden collection and includes posters and flyers that were produced all over the world using Lichtenstein’s iconic motifs. The works reflect Lichtenstein’s prolific imagination and ability to adapt his vision to the promotion of music and film festivals, theatrical performances, museums, restaurants, and public service messages as well as his own exhibitions. An essay discusses Lichtenstein’s development as an artist who blurred the boundaries between lowbrow and highbrow art.

COLLECTORS COPY NEW, SEALED IN ORIGINAL WRAP. 248 pp., 199 color and b&w illustrations. Many full color images of Roy Lichtenstein's sculpture and drawings, with essays by Jack Cowart, Dorothy Lichtenstein, Cassandra Lozano, Naomi Spector, and Agustin Arteaga, with a chronology by Clare Bell. Published on the occasion of the retrospective at the Corcoran Museum of Art, 1999.[New York, NY]

Now available in a paperback edition, this collection of 68 full-color reproductions focuses solely on Roy Lichtenstein's masterful Pop posters, dating from 1960 to 1997. Roy Lichtenstein's art is most recognizable for its trademark benday dots and two-dimensional planes, cartoonlike qualities that placed him at the forefront of the American Pop art scene. With its emphasis on consumer culture, Lichtenstein's style lent itself easily to the poster genre. This volume opens with his earliest poster, designed for his first exhibition at Leo Castelli Gallery in 1962, and closes with his last, which he completed the year of his death. An additional section features reproductions from the Claus von Olden collection and includes posters and flyers that were produced all over the world using Lichtenstein's iconic motifs. The works reflect Lichtenstein's prolific imagination and ability to adapt his vision to the promotion of music and film festivals, theatrical performances, museums, restaurants, and public service messages as well as his own exhibitions. An essay by Jürgen Döring expounds upon Lichtenstein's development as an artist who blurred the boundaries between lowbrow and highbrow art. The book also includes an illustrated biography of the artist.

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Comic genius: One of the most important exponents of Pop Art   In the late 50s and 60s, American painter Roy Lichtenstein (1923-1997) became one of the most important exponents of Pop Art—that movement which transformed products of mass consumption and the entertainment industry into subjects for art. This apotheosis of banal, everyday objects simultaneously constituted a criticism of the traditional elitist understanding of art. Almost alone among artists, Lichtenstein pursued the question of how an image becomes a work of art. Wholly in keeping with the spirit of the Classical Modern, he held that it was not the "rank" of the picture’s subject that lends the picture its artistic character, but rather the artist’s formal treatment of it. To Lichtenstein, however, this position seemed far too broad to be seriously pursued. Developed in the early 60s, Lichtenstein’s grid technique, with its allusion to the mass-production of graphic art, allowed the painter to give vent to his own artistic scepticism. In the 60s and 70s, Lichtenstein expanded his formal repertoire of techniques for creating distance and irony by means of an idiosyncratic process of abstraction and especially by his use of his numerous art quotations.   About the Series: Each book in TASCHEN’s Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

Whiz! Bang! Pop! Blam! Roy Lichtenstein has rendered everything from a comic-book cell and a warplane to a country landscape and a turkey in his trademark style drawn from printed advertisements and cartoons. A master mixer of popular culture and high art, Lichtenstein's painterly use of Benday dots and heavy outlines turned oil paintings into something they had never before come close to. This catalogue chronicles the evolution of his brushstroke and painterly style from the late 50s through the 90s, complete with photographs of the artist at work, and reproductions of paintings, drawings, and sculptures. Critic and scholar Dave Hickey's highly original and compelling personal essay challenges the way we traditionally think about Lichtenstein's art.

American painter Roy Lichtenstein (1923–1997) pioneered a new epoch in American art, bursting onto a scene dominated by Abstract Expressionism in late 1950s New York and defining a new art vocabulary for a new era.With his groundbreaking use of industrial production techniques and trivial, quotidian imagery such as cartoons, comic strips, and advertising, Lichtenstein joined contemporaries such as Andy Warhol and James Rosenquist to reflect and satirize American mass media and consumer culture. Works such as Look, Mickey! (1961), Drowning Girl (1963), and Whaam! (1963) deployed mass production techniques, particularly Ben-Day dots printing, to create a blow-up effect and pixelated “dot” style, with which Lichtenstein has become synonymous.This book provides an essential overview of Lichtenstein’s career, tracing his earliest Pop statements through to later “brushstroke” retorts to Abstract Expressionism and reinterpretations of modern masterpieces. We look at his leading position in midcentury modernism, and the ways in which his works both critique and chronicle 20th-century America.

The Interiors , one of the artist's major final series, caricature colourful magazine spreads of art-filled rooms. With the artist's usual dry wit, they depict domestic spaces, occasionally occupied by Nudes from his other late series. Includes paintings, prints, sculpture, source materials, and drawings.

Between 1961 and 1968, at the height of the Pop art movement, Roy Lichtenstein (1923-1997) created about 50 large black-and-white drawings. Not only was their imagery, culled from consumer culture, entirely new--baked potatoes, ads for foot medication and BB Guns--but so was their treatment, which drew on the rudimentary character of cheaply printed commercial drawings. Conceived independently from Lichtenstein's paintings, these drawings recast illustrations from newspaper ads and comic books into works of keen visual intensity, curiously echoing the clean-edge aesthetic of 1960s geometric abstraction. "Drawing is the basis of my art," Lichtenstein later affirmed; "It is where my thinking takes place." Published for an exhibition at the Morgan Library in New York, this richly illustrated publication offers 120 color illustrations, plus essays on Lichtenstein's technique and on his little-known 1967 Aspen project, in which the artist transformed a room into a black-and-white cartoon drawing.

High quality exhibition catalogue includes full color images from the exhibit as well as detailed annotation and background on the pieces.

Used book that is in clean, average condition without any missing pages.

Roy Lichtenstein's name is synonymous with Pop Art. As a master of appropriation, he applied a refined strategic approach to his creative energies and constructed his entire body of work following a sophisticated process of image selection, reinterpretation, and reissue. Lichtenstein developed a central creative principle that became a potent formula: an ability to identify cultural clichés and to repackage them as monmumental remixes. His works stand today as icons of 1960s and 1970s America with his characteristic comic strip and Benday dot imagery continuing to inspire contemporary visual culture.Roy Lichtenstein: Pop Remix traces the artist's print projects from the 1950s to the 1990s, exploring how he appropriated, transformed, and remixed numerous art historical sources including Claude Monet's Impressionism, Max Ernst's Surrealism, and Willem de Kooning's Abstract Expressionism. Lichtenstein reinterpreted the work of these artistic giants and significant art movements using an instantly recognizable graphic aesthetic, effectively branding his art with a signature Lichtenstein look to secure his place alongside those masters he so admired. Slick, intelligent, and humorous, Lichtenstein's remixes of romance and war comics, brushstrokes and nude girls are among the best-known Pop prints.

Blondes, beds and black-and-white works sum up this selection of Roy Lichtenstein's series, based on an exhibition mounted at Vienna's famous Kunsthaus Bregenz in 2005. This substantial catalogue contains 80 essential color reproductions, some in high-quality foldouts, under three thematic groupings: early black-and-white works of the 1960s; the woman as motif in his paintings from the 1960s, 1970s and 1980s; and his interiors, especially those from the 1990s. Leading scholars in the field, including Michael Lobel and Avis Berman, newly illuminate the Pop master's oeuvre in the context of this juxtaposition of early and late periods. Also included are studio photographs, some of which have never been published before, and finally, a biography and bibliography related specifically to the exhibition themes.

Presents a biography of Roy Lichtenstein

An exceptional selection of Lichtenstein’s sculptures from 1968 to the end of the artist’s life, from early ceramic sculptures to large-scale public works. The planned exhibition at the Fondazione Vedova in Venice (Biennale Arte 2013) will encompass Roy Lichtenstein’s sculptural production throughout his career, from the early 1960s through the late 1990s, covering the influential artist’s sculptural œuvre in ceramic, bronze, wood, porcelain, steel, and aluminum, as well as drawings, collages, and maquettes that describe the artist’s working processes. This catalog―a major chronology of Lichtenstein’s sculptures―not only documents the process of the artist, from sketches and drawings to collages, maquettes, metal sculptures, and large-scale interventions in urban contexts, it also approaches Lichtenstein’s work from the perspective of fabrication methods and industrial techniques.

Photographs and Interview by Bob Adelman. Introduction by Calvin Tomkins. Adelman shows and tells how Lictenstein executed this formidable work, with the superb photographs offering a behind-the-scenes look at the genesis of this major work. 128p.

The Interiors , one of the artist's major final series, caricature colourful magazine spreads of art-filled rooms. With the artist's usual dry wit, they depict domestic spaces, occasionally occupied by Nudes from his other late series. Includes paintings, prints, sculpture, source materials, and drawings.