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He was an avid jazz fan, often attending concerts at the Apollo Theater in Harlem. Lichtenstein first became interested in art and design as a hobby, through school. He then attended New York's Dwight School, graduating from there in 1940. He was raised on New York City's Upper West Side and attended public school until the age of twelve. His father, Milton, was a real estate broker, his mother, Beatrice (Werner), a homemaker. Lichtenstein was born into an upper middle class German- Jewish family in New York City. 2.2 Period of Lichtenstein's highest profile.His most expensive piece is Masterpiece, which was sold for $165 million in January 2017.
Drowning Girl, Whaam!, and Look Mickey are regarded as his most influential works. Whaam! and Drowning Girl are generally regarded as Lichtenstein's most famous works. His paintings were exhibited at the Leo Castelli Gallery in New York City. He described pop art as "not 'American' painting but actually industrial painting". His artwork was considered to be "disruptive". His work was influenced by popular advertising and the comic book style. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in-cheek manner. His work defined the premise of pop art through parody. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art movement. Roy Fox Lichtenstein ( / ˈ l ɪ k t ən ˌ s t aɪ n/ October 27, 1923 – September 29, 1997) was an American pop artist.
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(“For our capabilities,” Dorothy said, “it was more than adequate.”) Sun from two skylight windows soaks the varnished wood floors and four cylindrical concrete pillars support two horizontal beams spanning the length of the room. Once in a while, Dorothy and Roy would get up in the morning and jog around the 60-by-80-foot main space. After adaptation by the architecture firm Johnston Marklee, the first and second floors will be open to Independent Study Program students, while the third floor will host visiting artists and scholars in residence. The building has three levels: the studio on the ground floor, a large living space on the second floor and a one-bedroom apartment on the third floor. Roy Lichtenstein bought the building - originally a metalworking shop - in 1987 and used it as his New York residence and studio from 1989 to 1997. The studio building itself, a 9,000-square-foot red brick behemoth, sits at 741/745 Washington Street, across the street from Westbeth Artists’ Housing and four blocks south of the Whitney. The aim is to relocate the program into the building in 2023, 100 years after Lichtenstein’s birth. The program has fostered a community for a long line of distinguished artists, curators, art historians and writers - among them, LaToya Ruby Frazier, a visual artist and photographer Madeleine Grynsztejn, the director of Chicago’s Museum of Contemporary Art and Naomi Beckwith, deputy director and chief curator of the Guggenheim Museum.īut it has never had a permanent home of its own - until now.ĭorothy Lichtenstein, president of the Roy Lichtenstein Foundation, and Adam Weinberg, director of the Whitney Museum, on Wednesday announced that the Lichtenstein family will donate the studio building to the museum. Now, it will house another set of artists, the Whitney Museum’s Independent Study Program (I.S.P.), known for nurturing the next generation of artists. On Sundays, Lichtenstein would sometimes Rollerblade around the neighborhood with the photographer Bob Adelman. Back then, artists and writers like Ellsworth Kelly, Julian Schnabel and Frederic Tuten would drop in to visit. This is a studio space where Lichtenstein - by then well-established, after the height of his fame in the 1960s - practiced his art between 1988 until his death in 1997.
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It was here that the ponytailed pop master worked on the reflections series, the interior series, sculptural interpretations of his 1960s brushstroke series and “ Landscapes in Chinese Style.”
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Wooden shelves still hold glass Mason jars full of Roy Lichtenstein’s old paints, their colors ranging from scarlet to mustard to periwinkle. Along two walls runs a floor-to-ceiling easel system designed to drip any excess paint away from the canvas, onto the floor.
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