query: what influenced roy lichtenstein artwork?

title: Roy Lichtenstein

text: Roy Lichtenstein Roy Fox Lichtenstein (; October 27, 1923 – September 29, 1997) was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in-cheek manner. His work was influenced by popular advertising and the comic book style. He described pop art as "not 'American' painting but actually industrial painting". His paintings were exhibited at

title: Ten Dollar Bill (Roy Lichtenstein)

text: best artistic portrayals of currency. Roy Lichtenstein began experimentation with printmaking in the late 1940s, well before its rise in popularity in the early 1960s. Lichtenstein created his first lithograph and woodcut artwork in 1948 while he was working on receiving his graduate degree in fine arts from Ohio State University. During the late 1940s, he created abstract paintings influenced by several artists, especially Pablo Picasso. From 1951 through early 1956, Lichtenstein painted what were considered by Gianni Mercurio to be "jagged, post-cubist" designs of famous American artworks. Many of his pieces reflected portraits of the American west, especially Native

title: Roy Lichtenstein

text: Art. 2014: Roy Lichtenstein: Intimate Sculptures, The FLAG Art Foundation. Roy Lichtenstein: Opera Prima, Civic Gallery of Modern and Contemporary Arts, Turin. 2018: Exhibition at The Tate Liverpool, Merseyside, United Kingdom. In 1996 the National Gallery of Art in Washington, D.C. became the largest single repository of the artist's work when Lichtenstein donated 154 prints and 2 books. The Art Institute of Chicago has several important works by Lichtenstein in its permanent collection, including "Brushstroke with Spatter" (1966) and "Mirror No. 3 (Six Panels)" (1971). The personal holdings of Lichtenstein's widow, Dorothy Lichtenstein, and of the Roy Lichtenstein Foundation number

title: Ten Dollar Bill (Roy Lichtenstein)

text: Ten Dollar Bill (Roy Lichtenstein) Ten Dollar Bill (also referred to as The Dollar Bill) is a 1956 proto-pop art lithographic drawing by Roy Lichtenstein. Considered to be a combination of Americana art and cubism, the work is referred to as the beginning of Lichtenstein's work on pop art. Twenty-five editions of the lithograph were made by Lichtenstein, which were exhibited at several galleries. The piece is based on the design for the ten-dollar bill and has influenced several of Lichtenstein's later works. The picture has received generally favorable reception from critics, and is considered to be one of the

title: Roy Lichtenstein

text: Denmark (which traveled on to the Hayward Gallery, London, Museo Reina Sofia, Madrid, and the San Francisco Museum of Modern Art, until 2005); and "Classic of the New", Kunsthaus Bregenz (2005), "Roy Lichtenstein: Meditations on Art" Museo Triennale, Milan (2010, traveled to the Museum Ludwig, Cologne). In late 2010 The Morgan Library & Museum showed "Roy Lichtenstein: The Black-and-White Drawings, 1961–1968". Another major retrospective opened at the Art Institute of Chicago in May 2012 before going to the National Gallery of Art in Washington, Tate Modern in London, and the Centre Pompidou in Paris in 2013. 2013:Roy Lichtenstein, Olyvia Fine

title: Ten Dollar Bill (Roy Lichtenstein)

text: of Art in Washington, D.C., along with 89 of Lichtenstein's print artworks. As a part of "The Prints of Roy Lichtenstein", the piece was displayed in Washington until January 8, 1995, before it was moved to the Los Angeles County Museum of Art and put on display as part of that city's "WinterFest '95", starting in mid-February of that year. The tour moved in May to the Dallas Museum of Art, the final place it was displayed. In December 1996, Lichtenstein and his wife donated 154 prints of his artwork to the National Gallery of Art for permanent keeping. This

title: Masterpiece (Roy Lichtenstein)

text: produced "faint and uneven" Ben Day dots. Masterpiece (Roy Lichtenstein) Masterpiece is a 1962 pop art painting by Roy Lichtenstein that uses his classic Ben-Day dots and a speech balloon. It is known for its narrative content that predicted Lichtenstein's fame. In 2017 the painting sold for $165 million. According to the Lichtenstein Foundation website, "Masterpiece" was part of Lichtenstein's first exhibition at Ferus Gallery in Los Angeles from April 1 – April 27, 1963, featuring "Drowning Girl", "Portrait of Madame Cézanne" and other works from 1962 and 1963 When discussing another work ("I Know...Brad"), Lichtenstein stated that the name

title: Masterpiece (Roy Lichtenstein)

text: Masterpiece (Roy Lichtenstein) Masterpiece is a 1962 pop art painting by Roy Lichtenstein that uses his classic Ben-Day dots and a speech balloon. It is known for its narrative content that predicted Lichtenstein's fame. In 2017 the painting sold for $165 million. According to the Lichtenstein Foundation website, "Masterpiece" was part of Lichtenstein's first exhibition at Ferus Gallery in Los Angeles from April 1 – April 27, 1963, featuring "Drowning Girl", "Portrait of Madame Cézanne" and other works from 1962 and 1963 When discussing another work ("I Know...Brad"), Lichtenstein stated that the name Brad sounded heroic to him and was

title: Hopeless (Roy Lichtenstein)

text: Hopeless (Roy Lichtenstein) Hopeless is a 1963 painting with oil paint and acrylic paint on canvas by Roy Lichtenstein. The painting is in the collection of the Kunstmuseum Basel. "Hopeless" is derived from Tony Abruzzo's panel from "Run For Love!" in "Secret Hearts", no. 83 (November 1962), DC Comics. During the late 1950s and early 1960s a number of American painters began to adapt the imagery and motifs of comic strips. Lichtenstein in 1958 made drawings of comic strip characters. Andy Warhol produced his earliest paintings in the style in 1960. Lichtenstein, unaware of Warhol's work, produced "Look Mickey" and

title: Portrait of Madame Cézanne (Roy Lichtenstein)

text: Portrait of Madame Cézanne (Roy Lichtenstein) Portrait of Madame Cézanne (sometimes Portrait of Mrs. Cézanne) is a 1962 pop art painting by Roy Lichtenstein. It is a quotation of Erle Loran's diagram of one of Paul Cézanne's 27 portraits of his wife Marie-Hortense Fiquet, now in the Barnes Foundation, Philadelphia. It was one of the works exhibited at Lichtenstein's first solo exhibition in Los Angeles. The work became controversial in that it led to a reconsideration of what constitutes art. Lichtenstein and Loran sparred in the press, and art critics were intrigued by the viewpoints of the two. Loran's view

title: Hopeless (Roy Lichtenstein)

text: is considered typical melodramatic romance comic scene for that era. Hopeless (Roy Lichtenstein) Hopeless is a 1963 painting with oil paint and acrylic paint on canvas by Roy Lichtenstein. The painting is in the collection of the Kunstmuseum Basel. "Hopeless" is derived from Tony Abruzzo's panel from "Run For Love!" in "Secret Hearts", no. 83 (November 1962), DC Comics. During the late 1950s and early 1960s a number of American painters began to adapt the imagery and motifs of comic strips. Lichtenstein in 1958 made drawings of comic strip characters. Andy Warhol produced his earliest paintings in the style in

title: Blam (Roy Lichtenstein)

text: Blam (Roy Lichtenstein) Blam (sometimes Blam!) is a 1962 painting by Roy Lichtenstein falling within the pop art idiom. It is one of his military comic book derivatives and was one of the works presented at his first solo exhibition. The work is in the collection at the Yale University Art Gallery. The painting is based on Russ Heath's art in the comic book "All-American Men of War" issue #89 (January-February 1962), published by National Periodical Publications. The painting depicts a pilot ejecting from an exploding plane. The same issue was the inspiration for several other Lichtenstein paintings, "Okay Hot-Shot,

title: Roy Lichtenstein

text: Bogota, Colombia. In 2013, the painting "Woman with Flowered Hat" set another record at $56.1 million as it was purchased by British jeweller Laurence Graff from American investor Ronald O. Perelman. This was topped in 2015 by the sale of "Nurse" for 95.4 million dollars at a Christie's auction. In January 2017, "Masterpiece" was sold for $165 million. The proceeds of this sale will be used to create a fund for criminal justice reform. Biographical: Works: Other: Roy Lichtenstein Roy Fox Lichtenstein (; October 27, 1923 – September 29, 1997) was an American pop artist. During the 1960s, along with

title: Happy Tears (Roy Lichtenstein)

text: over something that is outside the canvas. Happy Tears (Roy Lichtenstein) Happy Tears is a 1964 pop art painting by Roy Lichtenstein. It formerly held the record for highest auction price for a Lichtenstein painting. On November 13, 2002, "Happy Tears" surpassed "Kiss II", which had sold for $6.0 million in May 1990, by selling for $7.1 million at Christie's auction house in New York. In November 2005, the 1963 work "In the Car" surpassed "Happy Tears"' Lichtenstein work record auction price, when it sold for $16.2 million. "Happy Tears" was acquired at the Leo Castelli Gallery, New York, in

title: Happy Tears (Roy Lichtenstein)

text: Happy Tears (Roy Lichtenstein) Happy Tears is a 1964 pop art painting by Roy Lichtenstein. It formerly held the record for highest auction price for a Lichtenstein painting. On November 13, 2002, "Happy Tears" surpassed "Kiss II", which had sold for $6.0 million in May 1990, by selling for $7.1 million at Christie's auction house in New York. In November 2005, the 1963 work "In the Car" surpassed "Happy Tears"' Lichtenstein work record auction price, when it sold for $16.2 million. "Happy Tears" was acquired at the Leo Castelli Gallery, New York, in 1964. It did not change hands until

title: Engagement Ring (Roy Lichtenstein)

text: from February 10 through March 3. In 1962, Lichtenstein produced several paintings about engagement rings and wedding bands. Engagement Ring (Roy Lichtenstein) Engagement Ring is a 1961 pop art painting by Roy Lichtenstein. The work is based on the "Winnie Winkle" series, but Lichtenstein changed both the graphical description and the narrative accompaniment that he presents in a speech balloon. As with most of his early romance comics works, this consisted of "a boy and a girl connected by romantic dialogue and action". The original source was a Martin Branner panel from the July 16, 1961 "Winnie Winkle" published in

title: Roy Lichtenstein

text: are still expressed by critics who say Lichtenstein did not credit, pay any royalties to, or seek permission from the original artists or copyright holders. In an interview for a BBC Four documentary in 2013, Alastair Sooke asked the comic book artist Dave Gibbons if he considered Lichtenstein a plagiarist. Gibbons replied: "I would say 'copycat'. In music for instance, you can't just whistle somebody else's tune or perform somebody else's tune, no matter how badly, without somehow crediting and giving payment to the original artist. That's to say, this is 'WHAAM! by Roy Lichtenstein, after Irv Novick'." Sooke himself

title: Takka Takka (Roy Lichtenstein)

text: of written language" demonstrates that art does not have to present the horrors of war graphically in order to be forceful. Takka Takka (Roy Lichtenstein) Takka Takka is a 1962 pop art painting by Roy Lichtenstein in his comic book style of using Ben-Day dots and a story panel. This work is held in the collection of the Museum Ludwig. The title comes from the onomatopoeic graphics that depict the sound that comes from a machine gun. Lichtenstein was a trained United States Army pilot, draftsman and artist as well as a World War II (WWII) veteran who never saw

title: Takka Takka (Roy Lichtenstein)

text: Takka Takka (Roy Lichtenstein) Takka Takka is a 1962 pop art painting by Roy Lichtenstein in his comic book style of using Ben-Day dots and a story panel. This work is held in the collection of the Museum Ludwig. The title comes from the onomatopoeic graphics that depict the sound that comes from a machine gun. Lichtenstein was a trained United States Army pilot, draftsman and artist as well as a World War II (WWII) veteran who never saw active combat. The work depicts a machine gun firing as it is situated above the camouflage of palm fronds during the

title: Jet Pilot (Roy Lichtenstein)

text: Jet Pilot (Roy Lichtenstein) Jet Pilot is a 1962 pop art work done in graphite pencil by Roy Lichtenstein. Like many of Lichtenstein's works from this time period, it was inspired by a comic book image, but he made notable modifications of the source in his work. In the mid-1970s the work was owned by Richard Brown Baker, who had acquired the work in May 1963. As of 2013 it is owned by the Yale University Art Gallery, which also hosts the related work "Blam". Lichtenstein was a trained United States Army pilot, draftsman and artist as well as a

title: Engagement Ring (Roy Lichtenstein)

text: Engagement Ring (Roy Lichtenstein) Engagement Ring is a 1961 pop art painting by Roy Lichtenstein. The work is based on the "Winnie Winkle" series, but Lichtenstein changed both the graphical description and the narrative accompaniment that he presents in a speech balloon. As with most of his early romance comics works, this consisted of "a boy and a girl connected by romantic dialogue and action". The original source was a Martin Branner panel from the July 16, 1961 "Winnie Winkle" published in the "Chicago Tribune". Measuring 172.1 cm × 201.9 cm (67 3/4 in × 79 1/2 in), "Engagement Ring"'s

title: Blam (Roy Lichtenstein)

text: the original source so that the aircraft and its explosion are the joint foci from which the painting radiates. Unlike the original, which had substantive narrative content, Lichtenstein's version has more formality and a linear pattern, but a more simplified surface. Blam (Roy Lichtenstein) Blam (sometimes Blam!) is a 1962 painting by Roy Lichtenstein falling within the pop art idiom. It is one of his military comic book derivatives and was one of the works presented at his first solo exhibition. The work is in the collection at the Yale University Art Gallery. The painting is based on Russ Heath's

title: Mermaid (Roy Lichtenstein)

text: existence to deal with fading paint and the impact of hurricane forces. According to a Bluffton University website, the sculpture was restored in 2000 and rededicated in 2001. In 2010, an additional restoration included "cleaning, corrosion removal and stabilization of its ferrous metal elements, compounding of the painted surfaces, concrete repair, and partial repainting". Other elements of the repair include the replacement of lost concrete and protective cooling. Mermaid (Roy Lichtenstein) Mermaid (sometimes The Mermaid) is a 1979 outdoor sculpture by Roy Lichtenstein, composed of concrete, steel, polyurethane, enamel, palm tree, and water. It is located in Miami Beach at

title: Mermaid (Roy Lichtenstein)

text: Mermaid (Roy Lichtenstein) Mermaid (sometimes The Mermaid) is a 1979 outdoor sculpture by Roy Lichtenstein, composed of concrete, steel, polyurethane, enamel, palm tree, and water. It is located in Miami Beach at the Fillmore Miami Beach at Jackie Gleason Theater. Measuring 640 cm × 730 cm × 330 cm (252 in × 288 in × 132 in), it is his first public art commission according to some sources, although others point to a temporary pavilion that predates this work. It is also the second piece of public art in the city of Miami Beach. Since the sculpture was installed, it

title: Roy Lichtenstein

text: maintains that "Lichtenstein transformed Novick's artwork in a number of subtle but crucial ways." Journal founder, City University London lecturer and University College London PhD, Ernesto Priego notes that Lichtenstein's failure to credit the original creators of his comic works was a reflection on the decision by National Periodical Publications, the predecessor of DC Comics, to omit any credit for their writers and artists: Furthermore, Campbell notes that there was a time when comic artists often declined attribution for their work. In an account published in 1998, Novick said that he had met Lichtenstein in the army in 1947 and,

title: Roy Lichtenstein

text: Phillip Gersh established a new Lichtenstein record $44.8 million at Sotheby's in 2012. In October 2012, his painting "Electric Cord" (1962) was returned to Leo Castelli's widow Barbara Bertozzi Castelli, after having been missing for 42 years. Castelli had sent the painting to an art restorer for cleaning in January 1970, and never got it back. He died in 1999. In 2006, the Roy Lichtenstein Foundation published an image of the painting on its holiday greeting card and asked the art community to help find it. The painting was found in a New York warehouse, after having been displayed in

title: Roy Lichtenstein

text: in the hundreds. In Europe, the Museum Ludwig in Cologne has one of the most comprehensive Lichtenstein holdings. Outside the United States and Europe, the National Gallery of Australia's Kenneth Tyler Collection has extensive holdings of Lichtenstein's prints, numbering over 300 works. In total there are some 4,500 works thought to be in circulation. After the artist's death in 1997, the Roy Lichtenstein Foundation was established in 1999. In 2011, the foundation's board decided the benefits of authenticating were outweighed by the risks of protracted lawsuits. In late 2006, the foundation sent out a holiday card featuring a picture of

title: Jet Pilot (Roy Lichtenstein)

text: follows a different path, thereby reducing the suspense caused in the source as the bullets ruptured the pilot's air hose. The work also is related to Lichtenstein's theme of "machine and embodied vision" as exhibited in works such as "Crak!", "Okay Hot-Shot, Okay!", and "Bratatat!". Jet Pilot (Roy Lichtenstein) Jet Pilot is a 1962 pop art work done in graphite pencil by Roy Lichtenstein. Like many of Lichtenstein's works from this time period, it was inspired by a comic book image, but he made notable modifications of the source in his work. In the mid-1970s the work was owned by

text: trying to explain a painting by A, B, C." He also noted that "The Cézanne is such a complex painting. Taking an outline and calling it Madame Cézanne is in itself humorous, particularly the idea of diagramming a Cézanne when Cézanne said, '... the outline escaped me.'" Lichtenstein obtained legal validation that his work was original when Loran's lawsuit was dismissed, clearing the way for artists to elaborate on images produced by others. Portrait of Madame Cézanne (Roy Lichtenstein) Portrait of Madame Cézanne (sometimes Portrait of Mrs. Cézanne) is a 1962 pop art painting by Roy Lichtenstein. It is a

title: Jet Pilot (Roy Lichtenstein)

text: World War II (WWII) veteran who never saw active combat. His list of aeronautical themed works is extensive. Within that genre, Lichtenstein has produced several works featuring pilots situated in cockpits during air combat such as "Jet Pilot" (1962), "Brattata" (1962), "Bratatat!" (1963), and "Okay Hot-Shot, Okay!" (1963). "Jet Pilot" is one of several drawings that Lichtenstein has done in a frottage technique, in a time before he routinely used the Ben-Day dots for which he is better known. This work has been on a worldwide tour of Lichtenstein's 1961–68 black-and-white sketches, accompanied by DC Comics artwork. The source of

title: Hopeless (Roy Lichtenstein)

text: popular works are his mid-1960s comic images of girls with speech balloons, including "Drowning Girl", "Hopeless", "Oh, Jeff...I Love You, Too...But...", "In the Car" and "We Rose Up Slowly" that have unheroic subjects who appeal to the male ego. Lichtenstein parodied four Picasso's between 1962 and 1963. Picasso's depictions of weeping women may have influenced Lichtenstein to produce portrayals of vulnerable teary-eyed women, such as the subjects of "Hopeless" (1963) and "Drowning Girl" (1963). Another possible influence on his emphasis on depicting distressed women in the early to mid-1960s was that his first marriage was dissolving at the time. Lichtenstein's

title: Ten Dollar Bill (Roy Lichtenstein)

text: "humorous, Cubist abstraction of the currency". Discussing the piece after edition 10 was given to the National Gallery of Australia, critic Jaklyn Babington considered Lichtenstein's early works, including "Ten Dollar Bill", to be "intriguing precursors to the artist’s subsequent development". She called it a "finely hand-drawn lithograph", and considered the work to be "the only hint of Lichtenstein’s imminent obsession with American popular culture". Babington finished by noting, "we see Lichtenstein first taking an everyday object, symbolic of the growing American consumer culture, as his subject matter". Ten Dollar Bill (Roy Lichtenstein) Ten Dollar Bill (also referred to as The

title: Roy Lichtenstein

text: began to incorporate hidden images of cartoon characters such as Mickey Mouse and Bugs Bunny into his abstract works. In 1960, he started teaching at Rutgers University where he was heavily influenced by Allan Kaprow, who was also a teacher at the university. This environment helped reignite his interest in Proto-pop imagery. In 1961, Lichtenstein began his first pop paintings using cartoon images and techniques derived from the appearance of commercial printing. This phase would continue to 1965, and included the use of advertising imagery suggesting consumerism and homemaking. His first work to feature the large-scale use of hard-edged figures

title: Roy Lichtenstein

text: held at the Pasadena Art Museum in California. The same year, his first solo exhibition in Europe was held at museums in Amsterdam, London, Bern and Hannover. Lichtenstein later participated in documentas IV (1968) and VI in (1977). Lichtenstein had his first retrospective at the Guggenheim Museum in 1969, organized by Diane Waldman. The Guggenheim presented a second Lichtenstein retrospective in 1994. Lichtenstein became the first living artist to have a solo drawing exhibitions at the Museum of Modern Art from March – June 1987. Recent retrospective surveys include the 2003 "All About Art," Louisiana Museum of Modern Art, in

title: Mermaid (Roy Lichtenstein)

text: painterly forms." Subsequent works expanded on "painterly sculpture". The work continued his 1970's sculptural theme of depicting ephemeral events in physical form with the inclusion of rays of sunlight upon the Mermaid's body. At the time, large-scale public art was something new to Lichtenstein. The work was regarded as an extension of his painting into public form rather than as an attempt to produce sculptural artwork. Incorporating a palm tree and a water-filled pool, "Mermaid" is regarded as "dazzlingly silly and provocative". The statue has been touched up on several occasions by city employees in its first 15 years of

text: surface. According to John Coplans's "Roy Lichtenstein", the artist was fascinated by the drawings: "isolating the woman out of the context of the painting seemed to Lichtenstein to be such an oversimplification of a complex issue as to be ironical in itself"; the oversimplification referred to was Loran's representing Cézanne's work with nothing more than black lines. The work marked the first of Lichtenstein's "artistic appropriations of the canonical works of Modernism" that resulted from his realization of the interrelation "between avant-garde and kitsch". The two images garnered attention among critics by highlighting the nuances between copying and creating art,

title: Roy Lichtenstein

text: John Heller, Blum Helman, Hirschl & Adler, Phyllis Kind, Getler Pall, Condon Riley, 65 Thompson Street, Holly Solomon, and Sperone Westwater Galleries among others. Leo Castelli Gallery represented Lichtenstein exclusively since 1962, when a solo show by the artist sold out before it opened. Beginning in 1962, the Leo Castelli Gallery, New York, held regular exhibitions of the artist’s work. Gagosian Gallery has been exhibiting work by Lichtenstein since 1996. "Big Painting No. 6" (1965) became the highest priced Lichtenstein work in 1970. Like the entire Brushstrokes series, the subject of the painting is the process of Abstract Expressionist painting

title: Roy Lichtenstein

text: York that Larry Rivers had bought around the corner from his own house. Three years later, they bought a 1910 carriage house facing the ocean on Gin Lane. From 1970 until his death, Lichtenstein split his time between Manhattan and Southampton. He also had a home on Captiva Island. Lichtenstein died of pneumonia in 1997 at New York University Medical Center, where he had been hospitalized for several weeks. He was survived by his second wife, Dorothy Herzka, and by his sons, David and Mitchell, from his first marriage. Pop art continues to influence the 21st century. Lichtenstein and Andy

title: Roy Lichtenstein

text: (1980), and the California Institute of the Arts (1977). He also served on the board of the Brooklyn Academy of Music. In 1949, Lichtenstein married Isabel Wilson, who previously had been married to Ohio artist Michael Sarisky. However, the brutal upstate winters took a toll on Lichtenstein and his wife, after he began teaching at the State University of New York at Oswego in 1958. The couple sold the family home in Highland Park, New Jersey, in 1963 and divorced in 1965. Lichtenstein married his second wife, Dorothy Herzka, in 1968. In 1966, they rented a house in Southampton, New

title: Roy Lichtenstein

text: 1970, Lichtenstein was commissioned by the Los Angeles County Museum of Art (within its Art and Technology program developed between 1967 and 1971) to make a film. With the help of Universal Film Studios, the artist conceived of, and produced, "Three Landscapes", a film of marine landscapes, directly related to a series of collages with landscape themes he created between 1964 and 1966. Although Lichtenstein had planned on producing 15 short films, the three-screen installation – made with New York-based independent filmmaker Joel Freedman – turned out to be the artist's only venture into the medium. Also in 1970, Lichtenstein

title: Roy Lichtenstein

text: as his superior officer, had responded to Lichtenstein's tearful complaints about the menial tasks he was assigned by recommending him for a better job. Jean-Paul Gabilliet has questioned this account, saying that Lichtenstein had left the army a year before the time Novick says the incident took place. Bart Beaty, noting that Lichtenstein had appropriated Novick for works such as "Whaam!" and "Okay Hot-Shot, Okay!", says that Novick's story "seems to be an attempt to personally diminish" the more famous artist. In 1966, Lichtenstein moved on from his much-celebrated imagery of the early 1960s, and began his "Modern Paintings" series,

title: Roy Lichtenstein

text: as a draftsman to a window decorator in between periods of painting. His work at this time fluctuated between Cubism and Expressionism. In 1954, his first son, David Hoyt Lichtenstein, now a songwriter, was born. His second son, Mitchell Lichtenstein, was born in 1956. In 1957, he moved back to upstate New York and began teaching again. It was at this time that he adopted the Abstract Expressionism style, being a late convert to this style of painting. Lichtenstein began teaching in upstate New York at the State University of New York at Oswego in 1958. About this time, he

title: Roy Lichtenstein

text: new studio he funded at OSU as the Hoyt L. Sherman Studio Art Center). Lichtenstein entered the graduate program at Ohio State and was hired as an art instructor, a post he held on and off for the next ten years. In 1949 Lichtenstein received a Master of Fine Arts degree from Ohio State University. In 1951, Lichtenstein had his first solo exhibition at the Carlebach Gallery in New York. He moved to Cleveland in the same year, where he remained for six years, although he frequently traveled back to New York. During this time he undertook jobs as varied

title: Roy Lichtenstein

text: attended New York's Dwight School, graduating from there in 1940. Lichtenstein first became interested in art and design as a hobby, through school. He was an avid jazz fan, often attending concerts at the Apollo Theater in Harlem. He frequently drew portraits of the musicians playing their instruments. In his last year of high school, 1939, Lichtenstein enrolled in summer classes at the Art Students League of New York, where he worked under the tutelage of Reginald Marsh. Lichtenstein then left New York to study at Ohio State University, which offered studio courses and a degree in fine arts. His

title: Happy Tears (Roy Lichtenstein)

text: which was written and directed by Roy Lichtenstein's son, Mitchell Lichtenstein, was marketed, the film poster prominently included the image of his father's work. The film was named after this painting. After 1963, Lichtenstein's comics-based women "look hard, crisp, brittle, and uniformly modish in appearance, as if they all came out of the same pot of makeup." This particular example is one of several that is cropped so closely that the hair flows beyond the edges of the canvas. The image is made more poignant by the cropping and positioning of the fingers. The woman exudes a sense of relief

title: Roy Lichtenstein

text: purchased a former carriage house in Southampton, Long Island, built a studio on the property, and spent the rest of the 1970s in relative seclusion. In the 1970s and 1980s, his style began to loosen and he expanded on what he had done before. Lichtenstein began a series of "Mirrors" paintings in 1969. By 1970, while continuing on the "Mirrors" series, he started work on the subject of entablatures. The "Entablatures" consisted of a first series of paintings from 1971–72, followed by a second series in 1974–76, and the publication of a series of relief prints in 1976. He produced

title: Roy Lichtenstein

text: (1963), which was appropriated from the lead story in DC Comics' "Secret Hearts" #83. ("Drowning Girl" now hangs in the Museum of Modern Art, New York.) "Drowning Girl" also features thick outlines, bold colors and Ben-Day dots, as if created by photographic reproduction. Of his own work Lichtenstein would say that the Abstract Expressionists "put things down on the canvas and responded to what they had done, to the color positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock's or

title: Mitchell Lichtenstein

text: premiered at the 2007 Sundance Film Festival to positive reviews. His film "Happy Tears" premiered at the Berlin International Film Festival in 2009. His film "Angelica" has been selected to be screened in the Panorama section of the 65th Berlin International Film Festival. He is openly gay. Mitchell Lichtenstein Mitchell Wilson Lichtenstein (born March 10, 1956) is an American actor, writer, producer and director. The son of Isabel (née Wilson) and Roy Lichtenstein, he studied acting at Bennington College in Vermont. In Ang Lee's film "The Wedding Banquet" (1993), Lichtenstein played the partner of a gay Taiwanese man living in

title: Mitchell Lichtenstein

text: Mitchell Lichtenstein Mitchell Wilson Lichtenstein (born March 10, 1956) is an American actor, writer, producer and director. The son of Isabel (née Wilson) and Roy Lichtenstein, he studied acting at Bennington College in Vermont. In Ang Lee's film "The Wedding Banquet" (1993), Lichtenstein played the partner of a gay Taiwanese man living in the United States who is forced to marry by his parents. Other credits include "Streamers" (1983). He produced, wrote, and directed the 2007 black comedy horror film "Teeth", about the pitfalls and power of a girl as a living example of the vagina dentata myth. The film

title: Nurse (Lichtenstein)

text: (121.9 x 121.9 cm.). Signed and dated ‘rf Lichtenstein '64’ (on the reverse). Nurse (Lichtenstein) Nurse is a painting by American pop art painter Roy Lichtenstein made in 1964. "Nurse" was at one time the 34th most expensive painting ever sold, purchased in November 9, 2015, by an anonymous buyer for $95,365,000, the then-record price for a piece by an American pop art painter. It had previously sold at auction in 1995 for $1.7 million. Christie's, the auction house involved for the sale, called "Nurse" "a quintessential Lichtenstein heroine" and stated that the subject was taken from a 1960s comic

title: Roy Lichtenstein

text: subway station. In 1977, he was commissioned by BMW to paint a Group 5 Racing Version of the BMW 320i for the third installment in the BMW Art Car Project. The DreamWorks Records logo was his last completed project. "I'm not in the business of doing anything like that (a corporate logo) and don't intend to do it again," allows Lichtenstein. "But I know Mo Ostin and David Geffen and it seemed interesting." Lichtenstein received numerous Honorary Doctorate degrees from, among others, the George Washington University (1996), Bard College, Royal College of Art (1993), Ohio State University (1987), Southampton College

title: Roy Lichtenstein

text: from the monochromatic prints of Edgar Degas featured in a 1994 exhibition at the Metropolitan Museum of Art in New York, the motifs of his "Landscapes in the Chinese Style" series are formed with simulated Benday dots and block contours, rendered in hard, vivid color, with all traces of the hand removed. The nude is a recurring element in Lichtenstein's work of the 1990s, such as in "Collage for Nude with Red Shirt" (1995). In addition to paintings and sculptures, Lichtenstein also made over 300 prints, mostly in screenprinting. In 1969, Lichtenstein was commissioned by Gunter Sachs to create "Composition"

title: Roy Lichtenstein

text: and other sources, including books on American Indian design from Lichtenstein's small library. Lichtenstein's "Still Life" paintings, sculptures and drawings, which span from 1972 through the early 1980s, cover a variety of motifs and themes, including the most traditional such as fruit, flowers, and vases. In 1983 Lichtenstein made two anti-apartheid posters, simply titled "Against Apartheid". In his "Reflection" series, produced between 1988 and 1990, Lichtenstein reused his own motifs from previous works. "Interiors" (1991–1992) is a series of works depicting banal domestic environments inspired by furniture ads the artist found in telephone books or on billboards. Having garnered inspiration

title: Roy Lichtenstein

text: including over 60 paintings and accompanying drawings. Using his characteristic Ben-Day dots and geometric shapes and lines, he rendered incongruous, challenging images out of familiar architectural structures, patterns borrowed from Art Déco and other subtly evocative, often sequential, motifs. The "Modern Sculpture" series of 1967–8 made reference to motifs from Art Déco architecture. In the early 1960s, Lichtenstein reproduced masterpieces by Cézanne, Mondrian and Picasso before embarking on the "Brushstrokes" series in 1965. Lichtenstein continued to revisit this theme later in his career with works such as "Bedroom at Arles" that derived from Vincent van Gogh's "Bedroom in Arles". In

title: Roy Lichtenstein

text: dots and flat colours and unyielding lines." Eddie Campbell blogged that "Lichtenstein took a tiny picture, smaller than the palm of the hand, printed in four color inks on newsprint and blew it up to the conventional size at which 'art' is made and exhibited and finished it in paint on canvas." With regard to Lichtenstein, Bill Griffith once said, "There's high art and there's low art. And then there's high art that can take low art, bring it into a high art context, appropriate it and elevate it into something else." Although Lichtenstein's comic-based work gained some acceptance, concerns

title: Roy Lichtenstein

text: Lichtenstein's use of comic-book imagery and art pieces, especially insofar as that use has been seen as endorsement of a patronizing view of comics by the art mainstream; cartoonist Art Spiegelman commented that "Lichtenstein did no more or less for comics than Andy Warhol did for soup." Lichtenstein's works based on enlarged panels from comic books engendered a widespread debate about their merits as art. Lichtenstein himself admitted, "I am nominally copying, but I am really restating the copied thing in other terms. In doing that, the original acquires a totally different texture. It isn't thick or thin brushstrokes, it's

title: Roy Lichtenstein

text: into his work in different ways in later decades. These panels were originally drawn by such comics artists as Jack Kirby and DC Comics artists Russ Heath, Tony Abruzzo, Irv Novick, and Jerry Grandenetti, who rarely received any credit. Jack Cowart, executive director of the Lichtenstein Foundation, contests the notion that Lichtenstein was a copyist, saying: "Roy's work was a wonderment of the graphic formulae and the codification of sentiment that had been worked out by others. The panels were changed in scale, color, treatment, and in their implications. There is no exact copy." However, some have been critical of

title: Roy Lichtenstein

text: Lichtenstein responded to such claims by offering responses such as the following: "The closer my work is to the original, the more threatening and critical the content. However, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by any rational line of argument." He discussed experiencing this heavy criticism in an interview with April Bernard and Mimi Thompson in 1986. Suggesting that it was at times difficult to be criticized, Lichtenstein said, “I don’t doubt when I’m actually painting, it’s

title: Roy Lichtenstein

text: opened. A group of paintings produced between 1961–1962 focused on solitary household objects such as sneakers, hot dogs, and golf balls. In September 1963 he took a leave of absence from his teaching position at Douglass College at Rutgers. It was at this time that Lichtenstein began to find fame not just in America but worldwide. He moved back to New York to be at the center of the art scene and resigned from Rutgers University in 1964 to concentrate on his painting. Lichtenstein used oil and Magna (early acrylic) paint in his best known works, such as "Drowning Girl"

title: Roy Lichtenstein

text: studies were interrupted by a three-year stint in the Army during and after World War II between 1943 and 1946. After being in training programs for languages, engineering, and pilot training, all of which were cancelled, he served as an orderly, draftsman, and artist. Lichtenstein returned home to visit his dying father and was discharged from the Army with eligibility for the G.I. Bill. He returned to studies in Ohio under the supervision of one of his teachers, Hoyt L. Sherman, who is widely regarded to have had a significant impact on his future work (Lichtenstein would later name a

title: Roy Lichtenstein

text: and "Leda and the Swan", for the collector's Pop Art bedroom suite at the Palace Hotel in St. Moritz. In the late 1970s and during the 1980s, Lichtenstein received major commissions for works in public places: the sculptures "Lamp" (1978) in St. Mary’s, Georgia; "Mermaid" (1979) in Miami Beach; the 26 feet tall "Brushstrokes in Flight" (1984, moved in 1998) at Port Columbus International Airport; the five-storey high "Mural with Blue Brushstroke" (1984–85) at the Equitable Center, New York; and "El Cap de Barcelona" (1992) in Barcelona. In 1994, Lichtenstein created the 53-foot-long, enamel-on-metal "Times Square Mural" in Times Square

title: Ten Dollar Bill (Roy Lichtenstein)

text: donation included several famous pieces, including "Crying Girl", along with one of the editions of "Ten Dollar Bill". Another edition of "Ten Dollar Bill" was a part of the showcase opening exhibit "$how Me the Money: The Dollar As Art" for the American Numismatic Association Money Museum in Colorado Springs, Colorado. This exhibit ran from October 4, 2002, until December 1. The lithograph was shown alongside work from Andy Warhol, Robert Dowd, and others. Later, the work was made a part of the "Roy Lichtenstein Prints 1956-1997" collection, created entirely from the family gallery of Jordan Schnitzer. This tour began

title: Nurse (Lichtenstein)

text: Nurse (Lichtenstein) Nurse is a painting by American pop art painter Roy Lichtenstein made in 1964. "Nurse" was at one time the 34th most expensive painting ever sold, purchased in November 9, 2015, by an anonymous buyer for $95,365,000, the then-record price for a piece by an American pop art painter. It had previously sold at auction in 1995 for $1.7 million. Christie's, the auction house involved for the sale, called "Nurse" "a quintessential Lichtenstein heroine" and stated that the subject was taken from a 1960s comic romance novel. Technique: Oil and magna on canvas. Dimensions: 48 x 48 in.

title: Mermaid (Roy Lichtenstein)

text: has been restored several times, and the theater that it accompanies has been restored and renamed twice. The statue rests outside what was originally called the Miami Beach Auditorium and later named the Miami Beach Theater of the Performing Arts or Theater of the Performing Arts, Miami. In 1987, the building was renamed the Jackie Gleason Theater of the Performing Arts. The institution was renamed in 2007 to the Fillmore Miami Beach at Jackie Gleason Theater. 1979 to 1982 was a period in which Lichtenstein created large-scale sculptures as derivatives of earlier smaller works. However, "The Mermaid", which was his

title: George Lichtenstein (musician)

text: George Lichtenstein (musician) George Lichtenstein (1827 – 13 February 1893) was a Hungarian pianist and music teacher who lived and worked in Edinburgh, Scotland. George Lichtenstein was born in Hungary. As a child, he studied violin and piano with Georg Vierling, and was influenced by the music of Hungarian Gypsies. He continued his studies at school in Pécs and Pressburg and later with Joseph Fischhof in Vienna. Lichtenstein also studied law and served as secretary to political activist Lajos Kossuth during the Hungarian Revolution of 1848. After the Russian intervention, he fled to Königsberg, and after the convention between Austria

title: Hopeless (Roy Lichtenstein)

text: first marriage to Isabel Wilson, which resulted in two sons, lasted from 1949 to 1965. "Hopeless" is a typical example of Lichtenstein's Romance comics with its teary-eyed face and dejected woman filling the majority of the canvas. Lichtenstein made modifications to the original source using vibrant colors and bold and wavy lines to intensify the emotion of the scene. The work is considered a significant advancement in Lichtenstein's "form, color, composition, and overall power of image." In works like "Hopeless", Lichtenstein derived enduring art from a fleeting form of entertainment, while remaining fairly true to the source. This particular source

title: Blam (Roy Lichtenstein)

text: Okay!", "Brattata", "Whaam!" and "Tex!" The graphite pencil sketch, "Jet Pilot" was also from that issue. When Lichtenstein had his first solo show at The Leo Castelli Gallery in February 1962, it sold out before opening. "Blam" sold for $1000 ($ in dollars), according to one source, but less than $1000 according to another. The exhibition included "Look Mickey", "Engagement Ring" and "The Refrigerator". The show ran from February 10 through March 3. The work appeared in the exhibition entitled 'The New Realists' at the Sidney Janis Gallery from November 1 to December 1, 1962. Lichtenstein began his war imagery

title: Ten Dollar Bill (Roy Lichtenstein)

text: Americans and cowboys, as well as other themes, such as images of president George Washington. Lichtenstein referred to the period as his "American" series, and it was generally negatively received by critics. Lichtenstein also began experimenting in abstract expressionism, using the technique on several of his western painting designs. These were poorly received, however, being compared by one critic to "the doodling of a five-year old". In 1956, Lichtenstein created twenty-five editions of "Ten Dollar Bill" and gave them to several private collectors and museums. Starting in late October 1994, "Ten Dollar Bill" went on display at the National Gallery

title: Jet Pilot (Roy Lichtenstein)

text: "Jet Pilot" was "All American Men of War" #89 (January–February 1962, DC Comics). "Jet Pilot" is one of several comics-based works, including "Okay Hot-Shot, Okay!" and "Von Karp", inspired by the World War II Navajo U.S. Air Force fighter pilot Johnny Cloud of DC Comics' "The Losers". The same "All American Men of War" issue was the inspiration for several other Lichtenstein paintings, "Okay Hot-Shot, Okay!", "Brattata", "Blam", "Whaam!" and "Tex!" Lichtenstein usually simplified from his source material, but in "Jet Pilot" the gun sight is more detailed than in the source. In Lichtenstein's image the line of enemy bullets

text: "The New York Times" saying, he was "one of the worst artists in America" who "briskly went about making a sow's ear out of a sow's ear." Loran felt Pop art paled in comparison to the aesthetics of Abstract Expressionism. Lichtenstein did not accept the transformation defense. Other critics got involved in the matter, with Gene Swenson querying Lichtenstein "about the charges of antagonistic critics 'that Pop Art does not transform its models." Lichtenstein responded that art forms but does not transform. Max Kozloff opined that Loran was being mocked and that while Lichtenstein's product had didactic content, its purpose

text: was that Lichtenstein had plagiarized his work, and at one point filed suit. Lichtenstein felt that he was making a statement with his painting on the ridiculous attempt by Loran to explain Cézanne by diagram. The press frequently used the word transformation when crediting Lichtenstein's work, but Lichtenstein attempted not to accept the association of his work with that word. "Portrait of Madame Cézanne" was exhibited along with works such as "Man with Folded Arms" at Lichtentein's first Pop exhibition in Los Angeles. The linear twice-removed black-and-white (along with "Man with Folded Arms") is regarded as a quotation of Erle

title: Roy Lichtenstein

text: "Electric Cord" (1961), a painting that had been missing since 1970 after being sent out to art restorer Daniel Goldreyer by the Leo Castelli Gallery. The card urged the public to report any information about its whereabouts. In 2012, the foundation authenticated the piece when it surfaced at a New York City warehouse. Between 2008 and 2012, following the death of photographer Harry Shunk in 2006, the Lichtenstein Foundation acquired the collection of photographic material shot by Shunk and his János Kender as well as the photographers' copyright. In 2013, the foundation donated the Shunk-Kender trove to five institutions –

title: Roy Lichtenstein

text: Warhol were used in U2's 1997, 1998 PopMart Tour and in an exhibition in 2007 at the British National Portrait Gallery. Among many other works of art lost in the World Trade Center attacks on September 11, 2001, a painting from Lichtenstein’s "The Entablature Series" was destroyed in the subsequent fire. His work "Crying Girl" was one of the artworks brought to life in "". In 1964, Lichtenstein became the first American to exhibit at the Tate Gallery, London, on the occasion of the show "'54–'64: Painting and Sculpture of a Decade." In 1967, his first museum retrospective exhibition was

title: Roy Lichtenstein

text: a series of "Artists Studios" which incorporated elements of his previous work. A notable example being "Artist's Studio, Look Mickey" (1973, Walker Art Center, Minneapolis) which incorporates five other previous works, fitted into the scene. During a trip to Los Angeles in 1978, Lichtenstein was fascinated by lawyer Robert Rifkind's collection of German Expressionist prints and illustrated books. He began to produce works that borrowed stylistic elements found in Expressionist paintings. "The White Tree" (1980) evokes lyric Der Blaue Reiter landscapes, while "Dr. Waldmann" (1980) recalls Otto Dix's "Dr. Mayer-Hermann" (1926). Small colored-pencil drawings were used as templates for woodcuts,

title: Roy Lichtenstein

text: odds with the insistent flatness of his paintings. For "Head of Girl" (1964), and "Head with Red Shadow" (1965), he collaborated with a ceramicist who sculpted the form of the head out of clay. Lichtenstein then applied a glaze to create the same sort of graphic motifs that he used in his paintings; the application of black lines and Ben-Day dots to three-dimensional objects resulted in a flattening of the form Most of Lichtenstein's best-known works are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965, though he would occasionally incorporate comics

title: Roy Lichtenstein

text: in scale, measuring 1.7 x 4.0 m (5 ft 7 in x 13 ft 4 in). "Whaam" follows the comic strip-based themes of some of his previous paintings and is part of a body of war-themed work created between 1962 and 1964. It is one of his two notable large war-themed paintings. It was purchased by the Tate Gallery in 1966, after being exhibited at the Leo Castelli Gallery in 1963, and (now at the Tate Modern) has remained in their collection ever since. Lichtenstein began experimenting with sculpture around 1964, demonstrating a knack for the form that was at

title: Roy Lichtenstein

text: and Ben-Day dots was "Look Mickey" (1961, National Gallery of Art, Washington, D.C.). This piece came from a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; "I bet you can't paint as good as that, eh, Dad?" In the same year he produced six other works with recognizable characters from gum wrappers and cartoons. In 1961, Leo Castelli started displaying Lichtenstein's work at his gallery in New York. Lichtenstein had his first one-man show at the Castelli gallery in 1962; the entire collection was bought by influential collectors before the show even

title: Roy Lichtenstein

text: the Leo Castelli Gallery in New York City. "Whaam!" and "Drowning Girl" are generally regarded as Lichtenstein's most famous works, with "Oh, Jeff...I Love You, Too...But..." arguably third. "Drowning Girl", "Whaam!" and "Look Mickey" are regarded as his most influential works. His most expensive piece is "Masterpiece", which was sold for $165 million in January 2017. Lichtenstein was born in New York, into an upper-middle-class Jewish family. His father, Milton, was a real estate broker, his mother, Beatrice (Werner), a homemaker. He was raised on the Upper West Side and attended public school until the age of twelve. He then

title: Ten Dollar Bill (Roy Lichtenstein)

text: was "simplified" from the original dollar design, appearing in "an imbalanced, drunken fashion". The lithograph has full margins surrounding the main design, as well as the signature "rf Lichtenstein" and a number between one and 25, followed by /25, reflecting the print number of the specific work, as well as the years 1956/79. Stephen Goode, a critic for "Insight on the News", considered the piece to be the beginning of the Pop Art movement, labeling the work "a sign of things to come as other artists tackled common yet sacrosanct items, including the American flag". Lichtenstein, reflecting on his work,

title: Brattata

text: what one author describes as a "male violence fantasy". Original artwork artist Russ Heath had accurately depicted the downward slanting gun sight and angled cockpit control panel. Lichtenstein depicted these without any slant, making them parallel to the surface of the canvas, which in a sense makes the viewer feel as if he is taking the place of the pilot. Brattata Brattata is a 1962 pop art painting by Roy Lichtenstein in his comic book style of using Ben-Day dots and a text balloon. The work is held in the collection at the Tehran Museum of Contemporary Art. It is

title: Masterpiece (Roy Lichtenstein)

text: his agreement by his facial expression. Adrian Searle of "The Guardian" says that the 1962 work, whose narrative and graphical content were both borrowed, was timely because Lichtenstein had his first exhibition in New York City at Leo Castelli Gallery that year, making the painting aspirational in an ironic way that comments on success and "the socio-sexual status of the hot young artist". The satirical commentary on Lichtenstein's career, followed the inside joke made the year before in "Mr. Bellamy". According to Roberta Smith of "The New York Times", "Masterpiece" was one of Lichtenstein's works created in a way that

title: Masterpiece (Roy Lichtenstein)

text: used with the aim of cliched oversimplification. "Drowning Girl" is another notable work with Brad as the heroic subject. The source of this image was a comic book panel with the two subjects positioned similarly to their position here, but they were situated in an automobile. In the source image the narrative content of the speech balloon said "But someday the bitterness will pass..." "Masterpiece" was part of the largest ever retrospective of Lichtenstein that visited The Art Institute of Chicago from May 16 to September 3, 2012, the National Gallery of Art in Washington, D.C. from October 14, 2012

title: Hopeless (Roy Lichtenstein)

text: "Popeye" in 1961. In the early 1960s, Lichtenstein produced several "fantasy drama" paintings of women in love affairs with domineering men causing women to be miserable, such as "Drowning Girl", "Hopeless" and "In the Car". These works served as prelude to 1964 paintings of innocent "girls next door" in a variety of tenuous emotional states. "In "Hopeless" and "Drowning Girl" (which come from the same source), for example, the heroines appear as victims of unhappy love affairs, with one displaying helplessness ... and the other defiance (she would rather drown than ask for her lover's help)." Several of Lichtenstein's most

title: Blam (Roy Lichtenstein)

text: efforts with single frame pictures such as "Blam". "Blam" uses quintessential war imagery. Although the text is limited to one four-letter word, the narrative is unnecessary owing to the eminent realism presented. The canvas is loaded with images surrounding the focal figure, of the aircraft under attack. It is regarded, along with "Takka Takka" as "successful in their combination of brilliant color and narrative situation". "Blam" is a jest with the viewer that uses an exclamation without narrative context. Like "Blang" (1962) and "Varoom" (1963), "Blam"'s onomatopoeia explodes "like a violent central sun over the entire composition". Lichtenstein has revised

title: Mermaid (Roy Lichtenstein)

text: first large-scale sculpture, was uniquely created for this commission. He was commissioned to produce "Mermaid" in 1979 for the Theater of the Performing Arts. The original $100,000 commission included a $50,000 National Endowment for the Arts grant and dollar for dollar matching by art aficionados. It is the second public art piece in the city of Miami Beach. Although Lichtenstein produced a mural for Expo '67 in Montreal, this was his first public art commission according to some sources. Other sources claim that his New York State Pavilion mural at the Worlds Fair was commissioned. Like almost all 20 of

title: Mermaid (Roy Lichtenstein)

text: his sculptures produced up to 1980, this "...began as a line drawing, in elevation; proceeded to full-scale blacktape layout; and then to a magna-painted, handcrafted wooden maquette, which established the mold for the casting...in bronze by lost-wax process." Several stages of development (sketches, drawings, collages and maquettes) are readily available on the Lichtenstein Foundation website. The reclining mermaid rests atop whitecapped blue waves adjacent to a palm tree. In contrast to the otherwise serene tropical setting, Licthenstein includes grey steel clouds. His commentary on this work located in Miami Beach is to emphasize the "absurdity of creating sculptures from such

title: Lichtenstein radar

text: (known as "Düppel" by the Luftwaffe, from the Berlin suburb near where the German version was developed) rendered "Lichtenstein B/C" almost useless for several crucial weeks. By late 1943, the Luftwaffe was starting to deploy the greatly improved FuG 220 Lichtenstein SN-2, operating on a lower frequency of 90 MHz (lower end of the US VHF FM broadcast band) which was far less affected by electronic jamming, but this required the much larger "Hirschgeweih" (stag's antlers) antennas, with only eight dipole elements, looking like a much-enlarged version of what occupied the forward end of each one of the earlier quadruple

title: Lichtenstein radar

text: Lichtenstein radar The Lichtenstein radar was among the earliest airborne radars available to the Luftwaffe in World War II and the first one used exclusively for air interception. Developed by Telefunken, it was available in at least four major revisions, called FuG 202 Lichtenstein B/C, FuG 212 Lichtenstein C-1, FuG 220 Lichtenstein SN-2 and the very rarely used FuG 228 Lichtenstein SN-3. (FuG is short for "Funk-Gerät", radio set). The Lichtenstein series remained the only widely deployed airborne interception radar used by the Germans on their night fighters during the war — the competing FuG 216 through 218 "Neptun" mid-VHF

title: Hillel Lichtenstein

text: the numerous works which Lichtenstein wrote, some of them being in Hebrew and others in Judæo-German, the most important are "Maskil el Dal" (Lemberg, 1867), "Eis La'asos" (ib. 1881), and "Avkath Roichel" (ib. 1883), all of which have been repeatedly reedited. They are all devoted to the denunciation of liberal Judaism. In Hebrew Rabbi Hillel Lichtenstein used to sign his name "Lash", which is an abbreviation for "Lichtenstein". Hillel Lichtenstein Rabbi Hillel Lichtenstein (1814-1891) was an Hungarian rabbi and the leader of the extreme Orthodoxy in Hungary. Hillel Lichtenstein was born at Veča in 1814. After studying at the Yeshiva

title: Kurt Lichtenstein

text: Kurt Lichtenstein Kurt Lichtenstein (Born 1 December 1911 Berlin, Died 12 October 1961 inner German border) was a communist journalist, and his death was a notable result of the German Democratic Republic's border control policies. Lichtenstein was the first man shot on the inner German border after the establishment of the Berlin Wall in August 1961. The circumstances were revisited in a criminal trial in 1997. The two defendants were acquitted of manslaughter. Kurt Lichtenstein was the son of Jewish merchant and shoemaker Georg Lichtenstein and Henriette Lichtenstein (née Haase). He grew up in Berlin in the Prenzlauer Berg district,

title: David Lichtenstein

text: York-New Jersey area. The podcasts are available at http://podcast.headlinesbook.com/ David Lichtenstein David Lichtenstein is an American billionaire entrepreneur and real estate investor. He is the founder and CEO of The Lightstone Group, which he founded in 1988. During the early years of the Lightstone Group, Lichtenstein focused on investing in multifamily properties. He rapidly grew his portfolio in the 1990s, before diversifying his portfolio and moving into retail. Lichtenstein in 2003 acquired Prime Retail for $638 million, seen as one of the largest retail purchases in United States at the time. Since 2007, Lichtenstein has been responsible for some of

title: David Lichtenstein

text: Real Estate Capital Policy Advisory Committee. Mr. Lichtenstein is a member of The Economic Club of New York. As part of his involvement in New York City real estate, he is also on the Board of Governors of the Real Estate Board of New York. Lichtenstein is a trustee of the Supervisory Committee for The New York Medical College, he is also a trustee of The Touro College and University System and sits on the Board. Lichtenstein is also a member of the Brookings Institution's Economic Studies Council. Lichtenstein supports a number of social causes. Lichtenstein makes regular contributions to

title: David Lichtenstein

text: David Lichtenstein David Lichtenstein is an American billionaire entrepreneur and real estate investor. He is the founder and CEO of The Lightstone Group, which he founded in 1988. During the early years of the Lightstone Group, Lichtenstein focused on investing in multifamily properties. He rapidly grew his portfolio in the 1990s, before diversifying his portfolio and moving into retail. Lichtenstein in 2003 acquired Prime Retail for $638 million, seen as one of the largest retail purchases in United States at the time. Since 2007, Lichtenstein has been responsible for some of the largest acquisitions and sales in the retail and

title: Meir Lichtenstein

text: were mistreated or not paid for the work they performed. A front-page article in "The Forward" profiled Mayor Lichtenstein as the only Haredi mayor in the U.S. of a municipality with a significant non-Jewish population. Lichtenstein now serves as a regular member of the Lakewood Township Committee, together with Mayor Ray Coles(D, 2017), Deputy Mayor Albert Ackerman (R, 2016), Menashe Miller (R), and Mike D'Elia (R, 2017). Meir Lichtenstein Meir Lichtenstein was the Mayor of Lakewood Township, New Jersey, a community of close to 100,000 residents in Ocean County, New Jersey, United States, in 2006. Lichtenstein was selected by his

title: Miranda Lichtenstein

text: Miranda Lichtenstein Miranda Lichtenstein (born December 11, 1969) is an American artist focusing on photography and video. Lichtenstein was born in New York City and she currently lives and works in New York. From ages 3–15, she lived in Brookline, Massachusetts. At age 15 she moved to Williamstown, Massachusetts to attend Buxton School. She lived in Prague for part 1991 of and in Japan in 2009. In 1990, Lichtenstein graduated with a BA from Sarah Lawrence College in Bronxville, NY. In 1993 she earned her MFA from California Institute of the Arts, Valencia, CA. Miranda Lichtenstein uses the medium of

title: Clara Lichtenstein

text: Victoria College (later McGill University) in Montreal. In 1904, she became vice-director of the new McGill Conservatorium. She taught piano, voice, music history and music theory until 1929. Lichtenstein died in Dorset, England in 1946. Her students included Pauline Donalda, Ellen Ballon, Marguerita Spencer and bass singer Edmund Burke. Clara Lichtenstein Hall, a small performance hall at McGill University, was named in her honour. Clara Lichtenstein Clara Lichtenstein (ca 1860 – May 3, 1946) was a Hungarian-born pianist and educator. She was born in Budapest and studied at the Charlotte Square Institution in Edinburgh, where her uncle George Lichtenstein was

title: Eric Lichtenstein

text: first driver for their program designed to support young Argentine talents. He dominated the second half of the season, winning eleven races total and ultimately finishing third overall in the championship. Lichtenstein will step up to the GP3 Series with Carlin in 2013. After the race at the Hungaroring his contract with Carlin has been terminated by the team due to non-payment of outstanding driver fees by Velociudad Driver Management. Lichtenstein is Jewish Eric Lichtenstein Eric Lichtenstein (born 6 October 1994) is a racing driver from Argentina. Born in Buenos Aires, Lichtenstein began his karting career at the age of

title: Eric Lichtenstein

text: Eric Lichtenstein Eric Lichtenstein (born 6 October 1994) is a racing driver from Argentina. Born in Buenos Aires, Lichtenstein began his karting career at the age of ten. He raced primarily in his native Argentina up to 2011, becoming a champion in various regional karting championships. In 2011, Lichtenstein graduated to single-seaters, racing in the Fórmula Metropolitana series. He also competed in the newly created Formula Pilota China championship. For the next year, Lichtenstein moved to Europe to compete in the British Formula Ford Championship with Jamun Racing, with the support of Velociudad Driver Management, who signed him as their

title: Bill Lichtenstein

text: Bill Lichtenstein Bill Lichtenstein (born October 3, 1956) is an American print and broadcast journalist and documentary producer, president of the media production company, Lichtenstein Creative Media, Incorporated. Lichtenstein began working in 1970 at age 14 as a volunteer and later as a part-time announcer and newscaster at WBCN-FM in Boston, Massachusetts. He later produced investigative reports for ABC News and public radio and television programs and documentary films on social justice issues as well as educational outreach campaigns. Lichtenstein and his company also made early use of emerging new media, including the 3-D virtual reality community Second Life. He

title: Kobi Lichtenstein

text: of his service to krav maga in Brazil. Lichtenstein lives and teaches krav maga in Rio de Janeiro, Brazil. In the middle of 2011, Lichtenstein was granted an 8th "dan" red belt by Haim Zut and Uri Refaeli from the Krav Maga Federation. Kobi Lichtenstein Yaakov "Kobi" Lichtenstein (born 1964) is an Israeli-Brazilian master of krav maga who introduced this martial art to South America. He is the Chief Instructor of the South American Federation of Krav Maga. Lichtenstein was born in 1964 in Rehovot, Israel. He began training in the martial art of krav maga in 1967 under its