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The Roy Lichtenstein Foundation

The Roy Lichtenstein Foundation
Related:  Still Life with Goldfish, Roy Lichtenstein

Roy Lichtenstein - Centre Pompidou, 2013 Sunrise [Lever de soleil], 1965 Porcelaine émaillée sur feuille d’acier perforée, 58,4 x 71,8 x 6,7 cm Édition 1/8 Collection particulière Une rétrospective Au-delà du pop art Biographie « Ce que je crée, c'est de la forme » Les œuvres - Les premières œuvres pop « L'art commercial n'est pas notre art, c'est notre sujet » - La richesse des expérimentations techniques « Je veux cacher la trace de ma main » - Un rapport privilégié à l'histoire de l'art Repères - Chronologie Textes de référence Bibliographie En savoir plus sur l'exposition une rÉtrospective Au-delÀ du pop art Reconnue dès le début des années 1960 comme une contribution majeure au pop art new-yorkais − elle fait partie de son « noyau dur » selon la spécialiste Lucy Lippard −, l'œuvre de Roy Lichtenstein dépasse les cadres chronologiques, techniques et thématiques de cette tendance liée à l'avènement de la société de consommation. Biographie « Ce que je crÉe, c’est de la forme » Les œuvres Torpedo... Dans Torpedo... Essais

Mana Contemporary presents seldom-seen Keith Haring artworks With their universal concepts, playful imagery and distinct visual rhythms, Keith Haring’s works continue to seduce folks of all ages from across the globe. Opening this Sunday, December 2, from 1-5pm at Mana Contemporary’s huge first-floor gallery, Keith Haring showcases a collection of seldom-seen Haring pieces on a range of surfaces. Here is a brief preview: Untitled, 1983, Acrylic on leather Dog, 1986, painted plywood with silkscreen Close-up Untitled, 1982, marker on wood And of particular interest to us New York City street art lovers are oversized metal panels originally spray-painted in 1984 on the FDR Drive Organized by 99 Cents Fine Art, New York, the exhibit also features several of Keith Haring’s subway drawings. Photos by Lenny Collado and Lois Stavsky Share Tagged as: exhibit, Keith Haring, Mana Contemporary, street art

Stunning new Roy Lichtenstein retrospective is a journey through his preoccupations The fun comes, she says, in trying to “unpick the riddle” and in this context the revelation that Lichtenstein was never a fan of comics or cartoonists is less surprising than it might otherwise have been. His obsession is not with this or that kind of imagery, but rather the whole hierarchy whereby some images are accorded so much more value and significance than others. The key to understanding this artist, says co curator James Rondeau is to see Lichtenstein’s redirection towards pop art from abstract expressionism as a move rooted in pragmatism, which then developed into a fully fledged philosophy. “He thought I cannot deliver a la Pollock so here’s this product that contains this emotionalism. It’s a joyous, colourful show well worth a visit if you’re in London, if only to convince you that Lichtenstien isn’t just about the comics. Lichtenstein: A Retrospective is at Tate Modern until May 27.

abstracte-kunst Culture - Magazine - Roy Lichtenstein Roy Lichtenstein Par André Girod A quoi mesure-t-on la valeur intrinsèque d’un artiste ? La popularité de son travail ? Alors que dire d’un peintre que Life Magazine avait qualifié comme « the worst artist in America », le pire artiste en Amérique ? La grandeur d’un artiste est aléatoire, souvent due au hasard et à l’engouement d’un mécène qui n’hésite pas à sortir de l’argent pour l’acquisition des œuvres. C’est un peu ce qui s’est passé pour Roy Lichtenstein. Surtout quand on apprend la façon dont il s’est dirigé vers cette branche artistique : la peinture. Jusqu’à l’âge de 37 ans, Roy était un artiste raté : son studio était rempli de toiles que personne ne voulait acheter. Le gant était ramassé et le père montra à son moutard qu’il pouvait peinturlurer comme Disney. Il essaie de l’expliquer : « Abstract Impressionnists put things on the canvas and responded to what they have done to the color positions and size. Que veut dire Roy ? our trouver son unicité sinon sa … gloire !

Ion Bârlădeanu – “Făt-Frumos cel urât” @ H’art gallery Ion Bârlădeanu – “Făt-Frumos cel urât” H’art gallery București Miercuri, 13 februarie, ora 19.00 Evenimentul a avut loc la sediul galeriei H’art din strada C.A. Rosetti, nr 25, et.5 , Bucuresti foto Lucian Muntean text: Dan Popescu „Există un mit fascinant al omului aflat la marginea lumii care duce o existenţă psihopompă dincolo de convenţii sau conforturi burgheze. Ion Bîrlădeanu a avut o existenţă de acest tip. Prin existenţa lui, Ion Bîrlădeanu a selectat timp de mai bine de treizeci de ani imagini din reviste şi a realizat o serie de colaje unice. vezi si seria de imagini Pascal Gravot Haeberli/Bucharest Art Tool:

Roy Lichtenstein: from heresy to visionary | Art and design In November 2011, Roy Lichtenstein's 1961 I Can See the Whole Room … and There's Nobody in It! was sold by Christie's for $43.2 million. The painting depicts a large back square, out of which a circle has been cut. From behind the circle peers the face of a jutting-jawed comic-strip man, illuminated by a bright background of yellow. Painted in the same year as his breakthrough Look Mickey, the work in which Lichtenstein first discovered the possibilities of using cartoons and comic strips, I Can See the Whole Room … and There's Nobody in It! At the same moment that Lichtenstein was discovering that he could use popular culture to ask searching questions about concept, form and technique, Andy Warhol was, quite independently, also using cartoon in his experimental work: neither artist knew it yet, but Pop Art was about to spring fully formed from America's forehead. His work explores ideas of clichés and icons, the ersatz and the manufactured.

filmwoordenboek.nl In 1987, toen de eerste druk van Beeldspraak verscheen, leefden we nog in het overzichtelijke analoge tijdperk. Film was nog een ambacht met tastbare elementen, zoals celluloid.Nu draaien nog maar weinig cameramensen daadwerkelijk op film. In de montage ziet nagenoeg geen enkele editor nog een rol geperforeerd materiaal binnenkomen. Vooruitgang, met meer positieve dan negatieve kanten. Toch blijft een mechanisch euvel makkelijker te verhelpen –of is in ieder geval inzichtelijker en daardoor makkelijker te accepteren– dan een weigerachtige computer. Met een grotendeels nieuwe redactie zijn we, na talloze verzoeken, aan de gang gegaan om de begrippenlijst aan te passen en uit te breiden. Waar ik het woord het eerst gehoord heb, herinner ik me niet meer.

Gaudi: La Sagrada Familia museum | Adagio Journal Click the thumbnail for photo gallery We cannot imagine what Gaudi might design today if he had access to modern computer-aided design tools. But Gaudi didn’t even have a mechanical calculator. So graphical calculations were his workaday tool. Almost all of Gaudi’s drawings and models were destroyed by mistreating and looting of the Spanish Civil War. What we know about his designs and methods has been reconstructed from the few remaining photos, notes and fragments of physical models. One outstanding example are Gaudi’s clever physical form-finding methods. This method exploits the property of a catenary curve, which describes a chain in pure tension. The remarkable website of the Sagrada Familia is rich with architectural information. Gaudí always chose the simplest path when it came to making the calculations for his projects. Another useful source is the MIT project paper: CatenaryCAD: An Architectural Design Tool. A one minute video demonstration of CADenary (fun). Like this:

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