Roy Lichtenstein (American, 1923-1997), "That's The Way—It Should Have – Lofty Marketplace
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Roy Lichtenstein (American, 1923-1997), "That's The Way—It Should Have Begun! But It's Hopeless!", 1968, screenprint in colors

Roy Lichtenstein (American, 1923-1997), "That's The Way—It Should Have Begun! But It's Hopeless!", 1968, screenprint in colors

Item Description:

Exhibition poster, Kunsthalle Bern, February 23- March 31, 1968, signed in pencil, printed by Albin Uldry, Berne, glazed and framed

Condition:

Handling creases and minor losses throughout, frame is damaged. Please contact cataloging@lofty.com for specific condition questions. Not examined out of the frame. Lofty does not guarantee the condition or authenticity of frames.

Provenance:

Private collection

Dimensions:

Image: Height 36 in. x Width 35.5 in.

Sheet: Height 50.25 in. x Width 35.5 in.

Frame: Height 52.5 in. x Width 37.5 in. x Depth .75 in.

About The Artist:

Roy Lichtenstein (1923-1997) was an American Pop artist born in New York City. His father, a real estate broker and his mother, a homemaker and pianist, frequently took him to museums in his youth. Lichtenstein began college by enrolling in classes at the Arts Students League in New York. He subsequently moved to Ohio State University in Columbus, Ohio, where he finished his studies after serving in World War II. Lichtenstein’s work is a pastiche of cultural appropriation; he famously aped comic book illustrations, enlarging, tracing and painting selected segments, even incorporating the characteristic Ben-Day dots from the offset lithographic printing process into his paintings. Lichtenstein also used the brushstroke, a motif from the Action Paintings of his contemporaries, and created tongue-in-cheek artworks based on 20th century art movements Cubism, Purism, Surrealism, Futurism, and Expressionism. In his later years, Lichtenstein created a series of sculptures of flat-looking but three-dimensional banal objects, and a series of non-reflective mirrors. His playful, balanced work sought to question the assumption that the function of representational art was to reflect reality. His art was an arrangement of forms and colors that obeyed pictorial rules independent of the subject in order to express an ideal state rather than a concrete reality.

 

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