Roy Lichtenstein Gallery
Oil and Magna on canvas, three panels, 120 x 216 inches overall.
Solomon R. Guggenheim Museum.
Lichtenstein cultivated imagery from the history of art while continuing to use the conventions of comics and advertisements. In Preparedness he used the Benday-dot technique to make a wall-size painting (10 feet high by 18 feet wide) that suggests the work of Fernand Léger and the WPA artists of the 1930s, who painted monumental murals, readable at a distance, on themes of workers and everyday life. Lichtenstein followed this practice to an ironic and somewhat subversive end. Painted during a year when public opinion on the Vietnam War shifted dramatically, Lichtenstein’s massive depiction of machinery and soldiers probes the conventions of selling the promises of the military-industrial complex, while quietly alluding to the naive optimism underlying a call to arms.
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| Grrrrrrrrrrr |
Preparedness |
| Interior with Mirrored Wall |
| Stepping Out |
| House |
| Kitchen stove |
| Times Square Mural |
| red barn |
| Nude with Joyous Painting |
| Adventures of Mao on the Long |
Biography
Bulletin Board
Renowned Art
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Roy was born in New York. He studied at the Art Students' League, New York, and at Ohio State University, Columbus. He taught at Ohio State University, New York State University, Oswego and Rutgers University. He did his military service in Europe. He had his first one-man exhibition in 1951 and worked as a commercial artist until 1957. He painted parodies of American twenties' art such as Remington's cowboy-and-Indian scenes. He used elements of commercial art, comics and advertisements in his drawings and painting. He produced large format paintings for the New York State Pavilion at the World's Fair in New York. He was represented at the Venice Biennale in 1966, 1968 and 1970 and in 1967-68 he had a retrospective at the Pasadena Art Museum.
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