Roy Lichtenstein Bücher

Der amerikanische Maler Roy Lichtenstein (1923–1997) fand in den späten 1950er Jahren durch einen Zufall, der zur Entstehung der Pop-Art zählt, zu seiner eigenen Bildsprache. Ein buntes Kaugummibild seiner Kinder inspirierte ihn zu seinen gerasterten Sprechblasenbildern, die das kulturelle Establishment zunächst schockierten, ihn jedoch bald neben Warhol, Rauschenberg und Wesselmann zu einem Star der jungen Pop-Art machten. Lichtenstein verwendete triviale Alltagsbilder aus Comicstrips und Werbung, was ihn mit Zeitgenossen wie Andy Warhol und James Rosenquist verband, die ebenfalls die Bildwelten der amerikanischen Massenmedien und Konsumkultur thematisierten. Werke wie Look, Mickey! (1961), Drowning Girl (1963) und Whaam! (1963) imitierten die industrielle Drucktechnik mit Rasterpunkten, den sogenannten Benday-Dots, und wurden ins Monumentale aufgeblasen; ein Stil, der untrennbar mit Lichtenstein verbunden ist. Dieses Buch bietet einen Überblick über Lichtensteins Schaffen, von seinen frühesten Pop-Art-Statements über seine späteren Antworten auf den abstrakten Expressionismus bis hin zu seinen gerasterten Neuinterpretationen von Meisterwerken wie denen von Picasso, Mondrian und Dalí.

einer der wichtigsten Maler der Pop Art legendäre Comic-Strip Bilder ungebrochene Beliebtheit

Walker Evans' radical photography of the 1930s demonstrated that unembellished photographic fact could serve as a highly poetic language. These works expanded the potential of the art of photography and at the same time defined a lasting iconography that recognized advertising, movies and car culture as central images of modern American identity. Walker Evans & Company focuses on Evans as a central figure in the arts of the 1920s and 30s, and includes works in photography and other mediums that influenced Evans or were influenced by him, or which resonate in a significant way with aspects of his imagery, sensibility and style. Among the other artists whose work is featured Eugene Atget, Mathew Brady, Stuart Davis, Robert Frank, Lee Friedlander, Edward Hopper, Roy Lichtenstein, Ed Ruscha, August Sander, Andy Warhol and Edward Weston. Published in conjunction with the second of three cycles of millennial exhibitions at The Museum of Modern Art, New York.

Encompasses all the artist's early works, including authoritative notes and commentary

One of the most complete monographs of the artist to date, this volume depicts the career of Roy Lichtenstein, one of the finest American pop artists of his era. Roy Lichtenstein (1923-1997) was the master of the stereotype, and the most sophisticated of the major pop artists. An emblematic protagonist of the New York art scene of the second half of twentieth century, he became a legend in his prolific lifetime. Even now, thirteen years after his death, his works and lexicon of symbols, subjects and themes continue to intrigue the art world. Published on the occasion of the major exhibition at the Milan Triennial, this monograph covers the entire artistic development of Roy Lichtenstein, through more than 250 paintings and sculptural works, a rich photographic section including unpublished material, and critical text. The reproductions of Lichtenstein’s work are large-format, in full color. The insightful quotes and most of the references to his personal life serve to explain how his art evolved or how he came to be in a particular place in the world. This deluxe edition (large square format with padded cover) offers a dynamic and provocative look at the works of Lichtenstein through a powerful combination of text and visual elements. It will appeal to Lichtenstein fans, critics, dealers, and anyone interested in contemporary art.

This English catalog features a selection of 97 works by Roy Lichtenstein (1923-1997) created between 1966 and 1997. Alongside Andy Warhol, he was a significant US Pop Art artist. Organized with the Roy Lichtenstein Foundation and curated by Jack Cowart, it provides a comprehensive overview of the artist's various stages of work.

Exploring the evolution of Pop culture from the late 1950s to the late 1960s, this comprehensive survey examines its impact on art, film, photography, and architecture, highlighting the interplay between mass production and mass media. Unlike other works that focus solely on Pop art, it offers a holistic view of the movement's influence across America, Britain, and Europe, showcasing its diverse manifestations and cultural significance during this transformative era.

L'art a quelque chose d'artificieux par essence et il est en réalité impossible de dire où il y a de l'art dans ses propres oeuvres, ni ce qu'il est ... Nous avons tous appris que ce n'est pas bien de copier les oeuvres des autres, or il semble que c'est exactement ce que je fais - et il en est réellement bien souvent ainsi. Il s'agit là d'un de ces tabous que les artistes méprisent continuellement. Les bandes dessinées par exemple n'ont pas été prises pour de l'art, et ce tabou s'est tout de même effondré. Selon moi, l'art commercial a généralement été jugé inférieur. Nous l'avons appris à l'Ecole des Beaux-Arts: tout ce qui ressemble un tant soit peu au design publicitaire est inférieur par nature. Mais Je crois que ce point de vue est faux et que moi, justement, je transforme ce qui est apparemment "commercial" en quelque chose d'autre, que je crée de l'art. Naturellement je ne peux pas le prouver. Tout ce que je peux dire c'est que je crois qu'avec mon "matériau" je crée quelque chose de tout à fait nouveau.

Chefs d'uvre L'exposition d'ouverture du centre Pompidou-Metz.