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The source panel of Sleeping Girl. The painting is based on a panel from the romance comic Girls' Romances #105 published by DC National Comics in 1964. [1]On May 9, 2012, the comic painting Sleeping Girl (1964) from the collection of Beatrice and Phillip Gersh established a new Lichtenstein record $44.8 million at Sotheby's.
The comic painting Sleeping Girl (1964) from the collection of Beatrice and Phillip Gersh established a new Lichtenstein record $44.8 million at Sotheby's in 2012. [103] [104] In October 2012, Lichtenstein's painting Electric Cord (1962) was returned to Leo Castelli's widow Barbara Bertozzi Castelli, after having been missing for 42 years ...
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The exhibition history of this work includes three 21st-century exhibitions: Las Vegas, Bellagio Gallery of Fine Art, April–September 2001; London, Hayward Gallery; Madrid, Museo Nacional Centro de Arte Reina Sofía and San Francisco Museum of Modern Art, Roy Lichtenstein: All About Art, August 2003-February 2005; New York, Gagosian Gallery, Lichtenstein: Girls, May–June 2008.
In Art Magazine's review of his 1964 Castelli Gallery show, Lichtenstein was referred to as the author of I Don't Care, I'd Rather Sink (Drowning Girl). [29] In 2005, Gary Garrels of the Museum of Modern Art wrote that the work is a "poetics of the utterly banal, of displaced ordinariness" resulting in an "image frozen in time and space ...
The work is a three-quarter-length, single image of a lovelorn girl. [4] This is one of Lichtenstein's post-1963 comics-based women that "...look hard, crisp, brittle, and uniformly modish in appearance, as if they all came out of the same pot of makeup."
Swifties are such a hot topic these days, but 60 years ago, America had succumbed to Beatlemania. On Feb. 7, 1964, Liverpool, England’s beloved foursome, the Beatles — John Lennon, Paul ...
Look Mickey (also known as Look Mickey!) is a 1961 oil on canvas painting by Roy Lichtenstein.Widely regarded as the bridge between his abstract expressionism and pop art works, it is notable for its ironic humor and aesthetic value as well as being the first example of the artist's employment of Ben-Day dots, speech balloons and comic imagery as a source for a painting.