Roy Lichtenstein (American, 1923-1997) Art Critic, 1996, edition of 1,500 plus proofs, published by the artist and the Brooklyn Academy of Music, New York (Corlett, 305). Numbered, signed, and dated "19/150 roy Lichtenstein '96" in pencil l.r. Color screenprint on paper, image size 19 3/4 x 13 3/8 in. (50.1 x 33.8 cm), framed. Condition: Not examined out of frame. Provenance: A private Florida collection. N.B. Lichtenstein's later prints refer back to his earlier ones and their Pop sensibility, employing Ben-Day-dots and a limited palette of primary colors and black outlines. At the same time many of the later works refer to looking at art on a larger scale. His Haystack and Cathedral series were direct references to Monet's series paintings of the 1890s. Later series such as 1984-85's Landscapes quote or at least reference earlier masters such as Van Gogh and Matisse. In his Art Critic of 1996, Lichtenstein presents a cubist portrait of a female critic - a nod to Picasso - looking at a painting. We see only a corner of the work and its frame, reminiscent of Lichtenstein's Paintings series of 1982-85. Lichtenstein was not always well received by critics, especially in his early days. The subject is thus ironic for the artist as he nears the end of his career.
Roy Lichtenstein (American, 1923-1997) Art Critic, 1996, edition of 1,500 plus proofs, published by the artist and the Brooklyn Academy of Music, New York (Corlett, 305). Numbered, signed, and dated "19/150 roy Lichtenstein '96" in pencil l.r. Color screenprint on paper, image size 19 3/4 x 13 3/8 in. (50.1 x 33.8 cm), framed. Condition: Not examined out of frame. Provenance: A private Florida collection. N.B. Lichtenstein's later prints refer back to his earlier ones and their Pop sensibility, employing Ben-Day-dots and a limited palette of primary colors and black outlines. At the same time many of the later works refer to looking at art on a larger scale. His Haystack and Cathedral series were direct references to Monet's series paintings of the 1890s. Later series such as 1984-85's Landscapes quote or at least reference earlier masters such as Van Gogh and Matisse. In his Art Critic of 1996, Lichtenstein presents a cubist portrait of a female critic - a nod to Picasso - looking at a painting. We see only a corner of the work and its frame, reminiscent of Lichtenstein's Paintings series of 1982-85. Lichtenstein was not always well received by critics, especially in his early days. The subject is thus ironic for the artist as he nears the end of his career.
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