World is a common name for the whole of human civilization, specifically human experience, history, or the human condition in general, ''worldwide'', i.e. anywhere on Earth.

In a philosophical context it may refer to: (1) the whole of the physical Universe, or (2) an ontological world (''see world disclosure''). In a theological context, ''world'' usually refers to the material or the profane sphere, as opposed to the celestial, spiritual, transcendent or sacred. The "end of the world" refers to scenarios of the final end of human history, often in religious contexts.

World history is commonly understood as spanning the major geopolitical developments of about five millennia, from the first civilizations to the present.

World population is the sum of all human populations at any time; similarly, world economy is the sum of the economies of all societies (all countries), especially in the context of globalization. Terms like world championship, gross world product, world flags etc. also imply the sum or combination of all current-day sovereign states.

In terms such as world religion, world language, and world war, ''world'' suggests international or intercontinental scope without necessarily implying participation of the entire world.

In terms such as world map and world climate, ''world'' is used in the sense detached from human culture or civilization, referring to the planet Earth physically.

Etymology and usage

The English word ''world'' comes from the Old English ''weorold (-uld), weorld, worold (-uld, -eld)'', a compound of ''wer'' "man" and ''eld'' "age," which thus means roughly "Age of Man." The Old English is a reflex of the Common Germanic ''*wira-alđiz'', also reflected in Old Saxon ''werold'', Old High German ''weralt'', Old Frisian ''warld'' and Old Norse ''verǫld'' (whence the Icelandic ''veröld'').

The corresponding word in Latin is ''mundus'', literally "clean, elegant", itself a loan translation of Greek ''cosmos'' "orderly arrangement." While the Germanic word thus reflects a mythological notion of a "domain of Man" (compare Midgard), presumably as opposed to the divine sphere on the one hand and the chthonic sphere of the underworld on the other, the Greco-Latin term expresses a notion of creation as an act of establishing order out of chaos.

'World' distinguishes the entire planet or population from any particular country or region: ''world affairs'' pertain not just to one place but to the whole world, and ''world history'' is a field of history that examines events from a global (rather than a national or a regional) perspective. ''Earth'', on the other hand, refers to the planet as a physical entity, and distinguishes it from other planets and physical objects.

'''World''' can also be used attributively, to mean 'global', 'relating to the whole world', forming usages such as world community or world canonical texts.

By extension, a '''world''' may refer to any planet or heavenly body, especially when it is thought of as inhabited, especially in the context of science fiction or futurology.

'''World''', in original sense, when qualified, can also refer to a particular domain of human experience.

The ''world of work'' describes paid work and the pursuit of career, in all its social aspects, to distinguish it from home life and academic study.

The ''fashion world'' describes the environment of the designers, fashion houses and consumers that make up the fashion industry.

historically, the ''New World'' vs. the ''Old World'', referring to the parts of the world colonized in the wake of the age of discovery. Now mostly used in zoology and botany, as New World monkey.

Philosophy

In philosophy, the term world has several possible meanings. In some contexts, it refers to everything that makes up reality or the physical universe. In others, it can mean have a specific ontological sense (see world disclosure). While clarifying the concept of world has arguably always been among the basic tasks of Western philosophy, this theme appears to have been raised explicitly only at the start of the twentieth century and has been the subject of continuous debate. The question of what the world is has by no means been settled.

;Parmenides The traditional interpretation of Parmenides' work is that he argued that the every-day perception of reality of the physical world (as described in doxa) is mistaken, and that the reality of the world is 'One Being' (as described in aletheia): an unchanging, ungenerated, indestructible whole.

;Plato In his Allegory of the Cave, Plato distingues between forms and ideas and imagines two distinct worlds : the sensible world and the intelligible world.

;Hegel In Hegel's philosophy of history, the expression ''Weltgeschichte ist Weltgericht'' (World History is a tribunal that judges the World) is used to assert the view that History is what judges men, their actions and their opinions. Science is born from the desire to transform the World in relation to Man; its final end is technical application.

;Schopenhauer ''The World as Will and Representation'' is the central work of Arthur Schopenhauer. Schopenhauer saw the human will as our one window to the world behind the representation; the Kantian thing-in-itself. He believed, therefore, that we could gain knowledge about the thing-in-itself, something Kant said was impossible, since the rest of the relationship between representation and thing-in-itself could be understood by analogy to the relationship between human will and human body.

;Wittgenstein Two definitions that were both put forward in the 1920s, however, suggest the range of available opinion. "The world is everything that is the case," wrote Ludwig Wittgenstein in his influential ''Tractatus Logico-Philosophicus'', first published in 1922. This definition would serve as the basis of logical positivism, with its assumption that there is exactly one world, consisting of the totality of facts, regardless of the interpretations that individual people may make of them.

;Heidegger Martin Heidegger, meanwhile, argued that "the surrounding world is different for each of us, and notwithstanding that we move about in a common world". The world, for Heidegger, was that into which we are always already "thrown" and with which we, as beings-in-the-world, must come to terms. His conception of "world disclosure" was most notably elaborated in his 1927 work ''Being and Time''.

;Freud In response, Freud proposed that we do not move about in a common world, but a common thought process. He believed that all the actions of a person are motivated by one thing: lust. This led to numerous theories about reactionary consciousness.

;Other Some philosophers, often inspired by David Lewis, argue that metaphysical concepts such as possibility, probability and necessity are best analyzed by comparing ''the'' world to a range of possible worlds; a view commonly known as modal realism.

Religion and mythology

Mythological cosmologies often depict the world as centered around an axis mundi and delimited by a boundary such as a world ocean, a world serpent or similar.

See also

Globe

List of sovereign states

Universe

References

External links

Category:Earth

ar:عالَم arc:ܥܠܡܐ (ܐܪܥܐ) ay:Pacha zh-min-nan:Sè-kài bi:Wol bg:Свят ca:Món ceb:Kalibotan cs:Svět da:Verden de:Welt dv:ދުނިޔެ es:Mundo eo:Mondo ext:Mundu eu:Mundu fa:جهان fr:Monde (univers) ko:세계 hi:जगत hr:Svijet io:Mondo it:Mondo he:עולם ka:მსოფლიო kk:Дүние жүзі ht:Lemonn ku:Cîhan lv:Pasaule lt:Pasaulis lmo:Mond ml:ലോകം mt:Dinja mr:जग xmf:საგებიო mwl:Mundo mn:Ертөнц nl:Wereld (Aarde) ne:विश्व new:हलिम ja:世界 nap:Munno nn:Verd uz:Dunyo pnb:دنیا ps:نړۍ km:ពិភពលោក tpi:Wol pt:Mundo qu:Kay pacha ru:Мир (Земля) sco:Warld stq:Waareld sq:Bota scn:Munnu simple:World ss:Úmhlâba sk:Svet sh:Svijet sv:Världen tl:Mundo te:ప్రపంచము tg:Ҷаҳон uk:Світ ur:دُنیا vi:Thế giới vo:Vol wo:Àdduna yi:וועלט yo:Àgbáyé bat-smg:Sviets zh:世界

bgcolour	#6495ED
name	Jim Dine
birth name	Jim Dine
birth date	June 16, 1935
birth place	Cincinnati, Ohio
death date	N/A
death place	N/A
nationality	American
field	painting
training	Ohio University.University of Cincinnati
movement	Neo-Dada, Pop Art
influenced by	}}

Jim Dine (born June 16, 1935) is an American pop artist. He is sometimes considered to be a part of the Neo-Dada movement. He was born in Cincinnati, Ohio, attended Walnut Hills High School, the University of Cincinnati, and received a BFA from Ohio University in 1957. He first earned respect in the art world with his Happenings. Pioneered with artists Claes Oldenburg and Allan Kaprow, in conjunction with musician John Cage, the "Happenings" were chaotic performance art that was a stark contrast with the more somber mood of the expressionists popular in the New York art world. The first of these was the 30 second ''The Smiling Worker'' performed in 1959.

Jim Dine has been represented by The Pace Gallery since 1976.

Birth of "Pop Art"

In 1962 Dine's work was included, along with Roy Lichtenstein, Andy Warhol, Robert Dowd, Phillip Hefferton, Joe Goode, Edward Ruscha, and Wayne Thiebaud, in the historically important and ground-breaking ''New Painting of Common Objects,'' curated by Walter Hopps at the Norton Simon Museum. This exhibition is historically considered one of the first "Pop Art" exhibitions in America. These painters started a movement, in a time of social unrest, which shocked America and the Art world and changed modern Art forever, "Pop Art".

In the early 1960s Dine produced pop art with items from everyday life. These provided commercial as well as critical success, but left Dine unsatisfied. In September 1966 police raided an exhibition of his work displayed at Robert Fraser's gallery in London, England. Twenty of his works were seized and Fraser was charged under the Obscene Publications Act of 1959, Dine's work was found to be indecent but not obscene and Fraser was fined 20 guineas. The following year Dine moved to London and continued to be represented by Fraser, spending the next four years developing his art. Returning to the United States in 1971 he focused on several series of drawings. In the 1980s sculpture resumed a prominent place in his art. In the time since then there has been an apparent shift in the subject of his art from man-made objects to nature.

According to James Rado, co-author (with Gerome Ragni) of the rock musical Hair, it was a Dine piece entitled "Hair" which gave the name to the rock musical.

In 1984, the Walker Art Center in Minneapolis, Minnesota, exhibited his work as "Jim Dine: Five Themes," and in 1989, the Minneapolis Institute of Arts hosted "Jim Dine Drawings: 1973-1987".

2000 and on

In 2004, the National Gallery of Art, Washington organized the exhibition, "Drawings of Jim Dine." In the summer of 2007 he participated in the Chicago public art exhibition "Cool Globes: Hot Ideas for a Cooler Planet." He exhibits regularly with the Alan Cristea Gallery in London and has a show scheduled there in April 2010.

}}

Pinocchio Art

On May 16, 2008, Jim Dine inaugurated a nine meter high bronze statue depicting a walking Pinocchio, named ''Walking to Borås''. The statue is placed in the city of Borås, Sweden.

Dine previously worked on a commercial book, paintings, and sculptures that focused on Pinocchio. He feels that "the idea of a talking stick becoming a boy [is] like a metaphor for art, and it’s the ultimate alchemical transformation."

See also

Claes Oldenburg

Cy Twombly

''Jim Dine: A Self-Portrait on the Walls'', a 1995 documentary

Marcel Duchamp

Pop Art

Michael Woolworth

Further reading

Chris Bruce, compiler, with an essay by Jim Dine. ''Extending the Artist's Hand: Contemporary Sculpture from the Walla Walla Foundry.'' Pullman, Washington: Museum of Art, Washington State University, 2004. ISBN 978-0-9755662-0-6

John Coplans, "New Paintings of Common Objects", Artforum, November, 1962. (Illustrations)

References

External links

Drawings of Jim Dine at the National Gallery of Art

The Pace Gallery

Past Exhibition of Drawings of Jim Dine at the National Gallery of Art

Jim Dine Walking Memory

Jim Dine on ArtCyclopedia

Sources

''Encyclopedia of Artists, volume 2'', edited by William H.T. Vaughan, ISBN 0-19-521572-9, 2000

Category:1935 births Category:Living people Category:American painters Category:American printmakers Category:American sculptors Category:Jewish painters Category:Jewish American artists Category:Members of the American Academy of Arts and Letters Category:Modern painters Category:Pop artists Category:Ohio University alumni Category:University of Cincinnati alumni Category:Artists from Cincinnati, Ohio Category:American artists

ca:Jim Dine de:Jim Dine et:Jim Dine es:Jim Dine fr:Jim Dine hr:Jim Dine it:Jim Dine nl:Jim Dine ja:ジム・ダイン ru:Дайн, Джим sv:Jim Dine

bgcolour	#6495ED
name	Romare Bearden
birth date	September 02, 1911
birth place	Charlotte, North Carolina
death date	March 12, 1988
death place	New York, New York
nationality	American
field	Painting
influenced	Radcliffe BaileyCamille Billops
awards	}}

Romare Bearden (September 2, 1911 – March 12, 1988) was an African American artist and writer. He worked in several media including cartoons, oils, and collage.

Education

Bearden was born in Mecklenburg County, North Carolina. His family moved him to New York City as a toddler, and their household soon became a meeting place for major figures of the Harlem Renaissance. In 1929 he graduated from Peabody High School in Pittsburgh, Pennsylvania. He completed his studies at New York University (NYU), graduating with a degree in science and education in 1935.

After he started to focus more on his art and less on athletics, he took courses in art that led to him being a lead cartoonist and art editor for the Eucleian Society's (a secretive student society at NYU) monthly journal, ''The Medley''.

Career as an artist

Bearden grew as an artist not by learning how to create new techniques and mediums, but by his life experiences, and the different decades he created art and the different events that took place completely reshaped his vision of art. He studied under German artist George Grosz at the Art Students League in 1936 and 1937. At this time his paintings were often of scenes in the American South, and his style was strongly influenced by the Mexican muralists, especially Diego Rivera and José Clemente Orozco. Shortly thereafter he began the first of his stints as a case worker for the New York Department of Social Services. During World War II, Bearden joined the United States Army, serving from 1942 until 1945. He would return to Europe in 1950 to study philosophy at the Sorbonne under the auspices of the GI Bill.

This completely changed his style of art as he started producing abstract representations of what he deemed as human; specifically scenes from the Passion of the Christ. He had evolved from what Edward Alden Jewell, a reviewer for the New York times, called a “debilitating focus on Regionalist and ethnic concerns” to what became known as his stylistic approach which participated in the post-war aims of avant-garde American art (Witkovsky 1989: 258). His works were exhibited in Sam Kootz’s gallery until his work was deemed not abstract enough.

During his success in the gallery, however, he produced Golgotha, a painting from his series of the Passion of the Christ (see Figure 1). Golgotha is an abstract representation of the Crucifixion. The eye of the viewer is drawn to the middle of the image first, where Bearden has rendered Christ’s body. The body parts are stylized into abstract geometric shapes, yet still too realistic to be concretely abstract; this work has a feel of early Cubism. The body is in a central position and yet darkly contrasting with the highlighted crowds. The crowds of people are on the left and right, and are encapsulated within large spheres of bright colors of purple and indigo. The background of the painting is depicted in lighter jewel tones dissected with linear black ink. Bearden used these colors and contrasts because of the abstract influence of the time, but also for their meanings.

Bearden intended to not focus on Christ but he wanted to emulate rather the emotions and actions of the crowds gathered around the Crucifixion. He worked hard to “depict myths in an attempt to convey universal human values and reactions” (Witkovsky 1989: 260). According to Bearden himself, Christ’s life, death, and resurrection are the greatest expressions of man’s humanism, not because of Christ’s actual existence but the idea of him that lived on through other men. This is why Bearden focuses on Christ’s body first, to portray the idea of the myth, and then highlights the crowd, to show how the idea is passed on to men.

While it may seem as if Bearden was emphasizing the Biblical interpretations of Christ and the Crucifixion, he was actually focusing on the spiritual intent. He wanted to show ideas of humanism and thought that cannot be seen by the eye, but “must be digested by the mind” (Witkovsky, 1989: 260). This is in accordance with the time he produced this image, as other famous artists creating avant-garde abstract representations of historically significant events, such as Motherwell’s commemoration of the Spanish Civil War, Pollock’s investigation of the Northwest Coast Indian art, Rothko’s and Newman’s interpretations of Biblical stories, etc. Bearden used this form of art to depict humanity during a period of time when he didn’t see humanity in existence through the war (Romare Bearden Foundation, 1990). However, Bearden stands out from these other artists as his works, including Golgotha, are a little too realistic for this time, and he was kicked out of Sam Kootz’s gallery.

Bearden turned to music, co-writing the hit song ''Sea Breeze'', which was recorded by Billy Eckstine and Dizzy Gillespie; it is still considered a jazz classic. In 1954, at age 42, he married Nanette Bearden, a 27 year old dancer who herself became an artist and critic. The couple eventually created the Bearden Foundation to assist young artists.

In the late 1950s, Bearden's work became more abstract, using layers of oil paint to produce muted, hidden effects. In 1956, Bearden began studying with a Chinese calligrapher, whom he credits with introducing him to new ideas about space and composition in painting. He also spent a lot of time studying famous European paintings he admired, particularly the work of the Dutch artists Johannes Vermeer, Pieter de Hooch, and Rembrandt. He began exhibiting again in 1960. About this time the couple established a second home in the Caribbean island of St. Maarten.

Collage

Bearden had struggled with two artistic sides of himself: his background as “a student of literature and of artistic traditions, and being a black human being involves very real experiences, figurative and concrete” (Witkovsky 1989: 266), which was at combat with the mid-twentieth century “exploration of abstraction” (Witkovsky 1989: 267). His frustration with abstraction won over, as he himself described his paintings’ focus as coming to a plateau. Bearden then turned to a completely different medium at a very important time for the country.

During the 1960s civil rights movement, Bearden started to experiment again, this time with forms of collage (Brenner Hinish and Moore, 2003). After helping to found an artist's group in support of civil rights, Bearden's work became more representational and more overtly socially conscious. He used clippings from magazines, which in and of itself was a new medium as glossy magazines were fairly new. He used these glossy scraps to incorporate modernity in his works, trying to show how not only were African American rights moving forward, but so was his socially conscious art. In 1964, he held an exhibition he called Projections, where he introduced his new collage style. These works were very well received, and these are generally considered to be his best work (Fine, 2004).

There have been numerous museum shows of Bearden's work since then, including a 1971 show at the Museum of Modern Art entitled ''Prevalence of Ritual'', an exhibition of his highly prized prints entitled ''A Graphic Odyssey'' showing the work of the last fifteen years of his life, and the 2005 National Gallery of Art retrospective entitled ''The Art of Romare Bearden''.

One of his most famous series, Prevalence of Ritual, concentrated mostly on southern African American life. He used these collages to show his rejection of the Harmon Foundation’s, the Chicago arts organization, emphasis on the idea that African Americans must reproduce their culture in their art (Greene, 1971). Bearden found this to be a burden on African artists, because he saw this idea creating an emphasis on reproducing something that already exists in the world. He used this new series to speak out against this limitation on Black artists, and to emphasize modern art.

In this series, one of the pieces is entitled Baptism. Bearden was influenced by Francisco Zubaran, and based Baptism off of Zubaran’s piece The Virgin Protectress of the Carthusians. Bearden wanted to show how the water that is about to be poured on the subject being baptized is always moving, giving the whole collage a feel and sense of temporal flux. This is a direct connection with the fact that African Americans’ rights were always changing, and society itself was in a temporal flux at the time he created this image. Bearden wanted to show how nothing is fixed, and represented this idea throughout the image: not only is the subject being baptized about to have water poured from the top, but the subject is also about to be submerged in water. Every aspect of the collage is moving and will never be the same more than once, which was congruent with society at the time.

In "The Art of Romare Bearden", Ruth Fine describes his themes as "universal". "A well-read man whose friends were other artists, writers, poets and jazz musicians, Bearden mined their worlds as well as his own for topics to explore. He took his imagery from both the everyday rituals of African American rural life in the south and urban life in the north, melding those American experiences with his personal experiences and with the themes of classical literature, religion, myth, music and daily human ritual."

A mural by Romare Bearden in the Gateway Center subway station in Pittsburgh is worth $15 million, more than the cash-strapped transit agency expected, raising questions about how it should be cared for once it is removed before the station is demolished. "We did not expect it to be that much," Port Authority of Allegheny County spokeswoman Judi McNeil said. "We don't have the wherewithal to be a caretaker of such a valuable piece." It would cost the agency more than $100,000 a year to insure the 60-foot-by-13-foot tile mural, McNeil said. Bearden was paid $90,000 for the project, titled "Pittsburgh Recollections." It was installed in 1984.

Before his death, Bearden claimed the collage fragments aided him in ushering the past into the present: "When I conjure these memories, they are of the present to me, because after all, the artist is a kind of enchanter in time."

Legacy

Romare Bearden died in New York on March 12, 1988 due to complications from bone cancer. In their obituary for him, the ''New York Times'' called Bearden "one of America's pre-eminent artists" and "the nation's foremost collagist."

Two years after his death, The Romare Bearden Foundation was founded. This non-profit organization not only serves as Bearden's official Estate, but also helps "to preserve and perpetuate the legacy of this preeminent American artist." Recently, it has begun developing grant-giving programs aimed at funding and supporting children, young (emerging) artists and scholars.

In Charlotte, Romare Bearden has a street named after him, intersecting West Boulevard, on the west side of the city. On that site, Romare Bearden Drive is surrounded by the West Boulevard Public Library branch and rows of townhouses.

Published works

Romare Bearden is the author of:

''Lil Dan, the Drummer Boy'', New York: Simon & Schuster, 2003

Romare Bearden is the coauthor of:

with Harry Henderson, ''Six Black Masters of American Art'', New York: Doubleday, 1972

with Carl Holty, ''The Painter's Mind'', Taylor & Francis, 1981

with Harry Henderson, of ''A History of African-American Artists. From 1792 to present'', New York: Pantheon Books 19

Honors achieved

Founded the ''306 Group'', a club for Harlem artists

In 1966 he was elected to the American Academy of Arts and Letters

In 1972 he was elected to the National Institute of Arts and Letters

In 1987, the year before he died, he was awarded the National Medal of Arts

In 2002, scholar Molefi Kete Asante listed Romare Bearden on his list of 100 Greatest African Americans.

Works

''Abstract'' (painting)

''The Blues'' (collage) – 1975, Honolulu Academy of Arts

''The Calabash'' (collage) - 1970, Library of Congress

''Carolina Shout'' (collage) - The Mint Museum of Art

''Falling Star'' (painting)

''Fisherman'' (painting)

"Jammin' at the Savoy" (painting)

''The Lantern'' (painting)

''Last of the Blue Devils''

''Morning of the Rooster''

''Patchwork Quilt'' (collage) – 1970, Museum of Modern Art

''Piano Lesson'' (painting) – Pennsylvania Academy of the Fine Arts

''Prevalence of Ritual: Tidings'' (collage)

''Recollection Pond'' (tapestry) – 1974–1990, 7 plus 1 artist’s proof/8 made, Mount Holyoke College Art Museum; Port Authority of NY & NJ; York College, City University of New York; The Metropolitan Museum of Art

''Return of the Prodigal Son'' – 1967, Albright-Knox Art Gallery

''Rocket to the Moon'' (collage)

''She-Ba''

''Showtime'' (painting)

''Summertime'' (collage) – 1967, Saint Louis Art Museum

''The Woodshed''

''Wrapping it up at the Lafayette''

''The Dove'' 1964

See also

African American art

List of WPA artists

References

;Notes

;Sources [Provides biography of mother, Bessye J. Bearden]

Brenner, Carla, Hinish, Heidi, and Moore, Barbara. 2003. The Art of Romare Bearden, National Gallery of Art, Washington. http://www.nga.gov/bearden.shtm

Brown, Kevin. Romare Bearden: Artist. New York: Chelsea House, 1994.

Fine, Ruth, The Art of Romare Bearden, Abrams/National Gallery of Art, 2004.

Greene, Carroll, Jr., Romare Bearden: The Prevalence of Ritual, Museum of Modern Art, 1971.

Witkovsky, Matthew S. 1989. Experience vs. Theory: Romare Bearden and Abstract Expressionism. Black American Literature Forum, Vol. 23, No. 2, Fiction Issue pp. 257–282.

East End/East Liberty Historical Society. Pittsburgh's East Liberty Valley, Arcadia Publishing, 2008 www.arcadiapublishing.com

External links

The Romare Bearden Foundation website

The Art of Romare Bearden at the National Gallery of Art, Washington

Marshall Arts presents Romare Bearden

Bearden Foundation biography

Romare Bearden Images: Hollis Taggart Galleries

"Romare Bearden: The Music in His Art, A Pictorial Odyssey" - by Ronald David Jackson. video, 2005

Romare Bearden Artwork Examples on AskART.

Romare Bearden papers online at the Smithsonian Archives of American Art

Columbus Museum of Art Bearden’s 1967 collage and mixed media piece ''La Primavera'' (click on picture for larger image)

Conjuring Bearden Exhibit at the Nasher Museum of Art

Romare Bearden's public artwork at Westchester Square-East Tremont Avenue, commissioned by MTA Arts for Transit.

Price, Sally and Richard Price. 2006. ''Romare Bearden: The Caribbean Dimension.'' Philadelphia, PA: University of Pennsylvania Press.

Category:1911 births Category:1988 deaths Category:African American artists Category:American painters Category:American printmakers Category:Collage Category:Modern painters Category:United States National Medal of Arts recipients Category:Art Students League of New York alumni Category:North Carolina culture Category:Artists from Pittsburgh, Pennsylvania Category:Archives of American Art related de:Romare Bearden es:Romare Bearden fr:Romare Bearden it:Romare Bearden tg:Ромари Беарден

bgcolour	#6495ED
name	Robert Motherwell
birth date	January 24, 1915
birth place	Aberdeen, Washington
death date	July 16, 1991
nationality	American
field	Painting, Printmaking
training	Stanford University, Harvard, Columbia University
movement	Abstract expressionism
awards	}}

Robert Motherwell (January 24, 1915 – July 16, 1991) American painter, printmaker and editor. He was one of the youngest of the New York School (a phrase he coined), which also included Jackson Pollock, Mark Rothko, Willem de Kooning, and Philip Guston.

Early Life and Education

Robert Motherwell was born in Aberdeen, Washington, on January 24, 1915, the first child of Robert Burns Motherwell II and Margaret Hogan Motherwell. The family later moved to San Francisco, where Motherwell's father served as president of Wells Fargo Bank. Due to the artists’ asthmatic condition, Motherwell was reared largely on the Pacific Coast and spent most of his school years in California. There he developed a love for the broad spaces and bright colours that later emerged as essential characteristics of his abstract paintings (ultramarine blue of the sky and ochre yellow of Californian hills). His later concern with themes of mortality can likewise be traced to his frail health as a child.

Between 1932 and 1937 Motherwell briefly studied painting at California School of Fine Arts, San Francisco and received a BA in philosophy from Stanford University. At Stanford Motherwell was introduced to modernism through his extensive reading of symbolist literature, especially Mallarme, James Joyce, Edgar Allan Poe and Octavio Paz. This passion stayed with Motherwell for the rest of his life and became a major theme of his later paintings and drawings.

At the age of 20 Motherwell traveled to Europe with his father and sister. They made a Grand Tour starting in Paris, then going to Amalfi, Italy, Switzerland, Germany, The Netherlands, London and ended in Motherwell, Scotland.

From Motherwell's own words, the reason he went to Harvard was because he wanted to be a painter while his father urged him pursue a more secure career: "And finally after months of really a cold war he made a very generous agreement with me that if I would get a Ph.D. so that I would be equipped to teach in a college as an economic insurance, he would give me fifty dollars a week for the rest of my life to do whatever I wanted to do on the assumption that with fifty dollars I could not starve but it would be no inducement to last. So with that agreed on Harvard then — it was actually the last year--Harvard still had the best philosophy school in the world. And since I had taken my degree at Stanford in philosophy, and since he didn't care what the Ph.D. was in, I went on to Harvard."

In Harvard Motherwell studied under Arthur Oncken Lovejoy and David White Prall; he went to Paris for a year to work on Delacroix where he met an American composer Arthur Berger. In fact, it was Berger who advised Motherwell to continue his education in Columbia University under Meyer Shapiro.

The New York School and the Surrealists

In 1940 Motherwell moved to New York to study at Columbia University, where he was encouraged by Meyer Schapiro to devote himself to painting rather than scholarship. Shapiro introduced the young artist to a group of exiled Parisian Surrealists (Max Ernst, Duchamp, Masson) and arranged for Motherwell to study with Kurt Seligmann. The time that Motherwell spent with the Surrealists proved to be incredibly influential on his artistic process. After a 1941 voyage to Mexico — on the boat of which he met Maria, an actress and his future wife — with Roberto Matta, Motherwell decided to make painting his primary vocation. The sketches Motherwell made in Mexico later evolved into his first important paintings, such as Little Spanish Prison, 1941, and Pancho Villa, Dead and Alive, 1943 (both in MoMA collection).

It was Matta who introduced Motherwell to the concept of “automatic” drawings. The Surrealists often deployed the process of automatism, or abstract “automatic” doodling to tap into their unconscious. This concept had a lasting effect on Motherwell and on other American painters such as Jackson Pollock, Lee Krasner and William Baziotes, whom he befriended in New York after a trip to Mexico.

Upon return from Mexico Motherwell spent time developing his creative principle based on automatism: "what I realized was that Americans potentially could paint like angels but that there was no creative principle around, so that everybody who liked modern art was copying it. Gorky was copying Picasso. Pollock was copying Picasso. De Kooning was copying Picasso. I mean I say this unqualifiedly. I was painting French intimate pictures or whatever. And all we needed was a creative principle, I mean something that would mobilize this capacity to paint in a creative way, and that's what Europe had that we hadn't had; we had always followed in their wake. And I thought of all the possibilities of free association — because I also had a psychoanalytic background and I understood the implications — might be the best chance to really make something entirely new which everybody agreed was the thing to do."

Thus, in the early 1940s Robert Motherwell played a significant role in lying the foundations for the new movement of Abstract Expressionism (or the New York School): "Matta wanted to start a revolution, a movement, within Surrealism. He asked me to find some other American artists that would help start a new movement. It was then that Baziotes and I went to see Pollock and de Kooning and Hofmann and Kamrowski and Busa and several other people. And if we could come with something. Peggy Guggenheim who liked us said that she would put on a show of this new business. And so I went around explaining the theory of automatism to everybody because the only way that you could have a movement was that it had some common principle. It sort of all began that way."

In 1942 Motherwell began to exhibit his work in New York and in 1944 he had his first one-man show at Peggy Guggenheim’s “Art of This Century” gallery; that same year the MoMA was the first museum to purchase one of his works. From the mid-1940s, Motherwell became the leading spokesman for avant-garde art in America. His circle came to include William Baziotes, David Hare, Barnett Newman, and Mark Rothko, with whom he eventually started the Subjects of the Artist School (1948–49). In 1949 Motherwell divorced Maria Emilia Ferreira y Moyeros and in 1950 he married Betty Little, with whom he had two daughters.

In 1948, he began to work with his celebrated Elegy to the Spanish Republic theme, which he continued to develop throughout his life. Motherwell intended his Elegies to the Spanish Republic (over 100 paintings, completed between 1948 and 1967) as a "lamentation or funeral song" after the Spanish Civil War. His recurring motif here is a rough black oval, repeated in varying sizes and degrees of compression and distortion. Instead of appearing as holes leading into a deeper space, these light-absorbent blots stand out against a ground of relatively even, predominantly white upright rectangles. They have various associations, but Motherwell himself related them to the display of the dead bull's testicles in the Spanish bullfighting ring.

Throughout the 1950s Motherwell also taught painting at Hunter College in New York and at Black Mountain College in North Carolina. Cy Twombly, Robert Rauschenberg and Kenneth Noland studied under and were influenced by Motherwell. At this time, he was a prolific writer and lecturer, and in addition to directing the influential Documents of Modern Art Series, he edited The Dada Painters and Poets: An Anthology, which was published in 1951.

From 1954 to 1958, during the break-up of his second marriage, he worked on a small series of paintings which incorporated the words Je t’aime, expressing his most intimate and private feelings. His collages began to incorporate material from his studio such as cigarette packets and labels becoming records of his daily life. He was married for the third time, from 1958 to 1971, to Helen Frankenthaler, a successful abstract painter.

Mature Years

In 1958–59, Motherwell was included in “The New American Painting” exhibition, initiated by the Museum of Modern Art, which traveled across Europe. That year he traveled in Spain and France, where he started his Iberia series. During the 1960s, Motherwell exhibited widely in both America and Europe and in 1965 he was given a major retrospective exhibition at the Museum of Modern Art; this show subsequently traveled to Amsterdam, London, Brussels, Essen, and Turin.

In 1962 Motherwell and Frankenthaler spent the summer at the artists’ colony at Provincetown, Massachusetts, where the coastline inspired the "Beside the Sea" series of 64 paintings, the oil paint splashed with full force against rag paper imitating the sea crashing on the shore in front of his studio.

In 1965 Motherwell worked on another prominent series called the The "Lyric Suite", named after Alban Berg’s string quartet, as Motherwell recalled, “I went to a Japanese store to buy a toy for a friend’s kid, and I saw this beautiful Japanese paper and I bought a thousand sheets. And made up my mind, this was in the beginning of April 1965, that I would do the thousand sheets without correction. I’d make an absolute rule for myself. And I got to 600 in April and May, when one night my wife and I were having dinner and the telephone rang. And it was Kenneth Noland in Vermont saying that I should come immediately. And I said, ‘what’s happened?’ And he said, ‘David Smith’s been in an accident’.” Smith, the sculptor, was Motherwell and Frankenthaler’s great friend. Jumping into their Mercedes they sped to Vermont but arrived 15 minutes after Smith had died. Motherwell stopped work on the series. He said of them: “And then one year I had them all framed, and I like them very much now. I should also say that I half painted them and they half painted themselves. I’d never used rice paper before except occasionally as an element in a collage. And most of these were made with very small, I mean very thin lines. And then I would look at amazement on the floor after I’d finished. It would spread like spots of oil and fill all kinds of strange dimensions.”

In 1967, Motherwell began to work on his Open series. Inspired by a chance juxtaposition of a large and small canvas, the Open paintings occupied Motherwell for nearly two decades. Intimate and meditative, the Opens consist of limited planes of colour, broken up by minimally rendered lines in loosely rectangular configurations. As the series progressed, the works became more complex and more obviously painterly, as Motherwell worked through the possible permutations of such reduced means.

In 1970, Motherwell moved to Greenwich, Connecticut. During the 1970s, he had important retrospective exhibitions in a number of European cities, including Düsseldorf, Stockholm, Vienna, Paris, Edinburgh, and London. In 1977, Motherwell was given a major mural commission for the new wing of the National Gallery of Art, Washington, D.C.

In 1983, a major retrospective exhibition of Motherwell’s work was mounted at the Albright-Knox Art Gallery in Buffalo, New York; this exhibition was subsequently shown in Los Angeles, San Francisco, Seattle, Washington, D.C., and New York City. Another retrospective was shown in Mexico City, Monterey, and Fort Worth, Texas, in 1991.

Robert Motherwell died in Provincetown, Massachusetts on July 16, 1991. On Motherwell's death, Clement Greenberg, the great champion of the New York School, left in little doubt his esteem for the artist, commenting that, "although he is underrated today, in my opinion he was the very best of the Abstract Expressionist painters".

Motherwell was a member of the editorial board of the surrealist magazine ''VVV'' and a contributor of Wolfgang Paalens journal ''Dyn'', which was edited 1942-44 in six numbers. He also edited Paalens collected essays ''Form and Sense'' in 1945 as the first Number of ''Problems of Contemporary Art.''

Dedalus Foundation was set up by Robert Motherwell in 1981 to educate the public by fostering public understanding of modern art and modernism through its support of research, education, publications, and exhibitions in this field.

Selected Solo Exhibitions

Art Gallery of Ontario, Canada (2011); Bernard Jacobson Gallery, London (2009); Museum Morsbroich, Leverkusen, Germany (2004–05); Fundació Antoni Tàpies, Barcelona, Spain (1996–97, traveled); Museo Rufino Tamayo, Mexico City, Mexico (1991–92, traveled); Walker Art Center, Minneapolis, Minnesota (1985); Albright-Knox At Gallery, Buffalo, New York (1983, traveled); Fundación Juan March, Madrid, Spain (1980); The William Benton Museum of Art, University of Connecticut, Storrs (1979); Royal Academy of Art, London, England (1978); Musée d’art moderne de la ville de Paris, France (1977); Stadtisches Kunsthalle, Düsseldorf, Germany (1976); Museo de Arte Moderna, Mexico City, Mexico (1975); Princeton University Art Museum, New Jersey (1973); David Mirvish Gallery, Toronto, Ontario, Canada (1973); The Museum of Fine Arts, Houston, Texas (1972–73, traveled); The Museum of Modern Art, New York (1965); The Phillips Collection, Washignton, D.C. (1965); Smith College Museum of Art (1963); Pasadena Art Museum, California (1962); Galerie Heinz Berggruen, Paris, France (1961); Bennington College, Bennington, Vermont (1957); Peggy Guggenheim’s Art of this Century Gallery, New York (1944).

References

Books

Robert Motherwell, ''The Dada Painters and Poets'', R. Motherwell, New York, 1951.

Robert Motherwell, ''The Collected Writings of Robert Motherwell'', University of California Press, 1999.

Robert Motherwell translated to English Paul Signac's book, ''D'Eugène Delacroix au néo-impressionisme'', 1938.

Arnason, H.H. ''Robert Motherwell''. New York: Harry N. Abrams, 1977; revised edition 1982.

Engberg, Siri and Joan Banach. ''Robert Motherwell: The Complete Prints 1940–1991''. Minneapolis: Walker Art Center, 2003.

Flam, Jack. ''Motherwell''. London: Phaidon, 1991

Marika Herskovic, ''American Abstract Expressionism of the 1950s An Illustrated Survey,'' (New York School Press, 2003.) ISBN 0-9677994-1-4. p. 238-241

Marika Herskovic, ''New York School Abstract Expressionists Artists Choice by Artists,'' (New York School Press, 2000.) ISBN 0-9677994-0-6. p. 11; p. 16; p. 27; p. 38; p. 258-261

Robert Hobbs. "Robert Motherwell Retrospective." Düsseldorf: Städische Kunsthalle Düsseldorf, 1976.

Robert Hobbs, Matthew Collings, Mel Gooding and Robert Motherwell. "''Open.''" London: 21 Publishing Ltd., 2009.

Kingsley, April. ''The Turning Point: The Abstract Expressionists and the Transformation of American Art''. New York: Simon & Schuster, 1992.

Pleynet, Marcelin. ''Robert Motherwell''. Paris: Daniel Papierski, 1989.

Sources

Lifetime Honors - National Medal of Arts

The Dedalus Foundation

Robert Motherwell images: Bernard Jacobson Gallery

Robert Motherwell Biography: Hollis Taggart Galleries

The Archives of American Art: Interview with Robert Motherwell conducted by Paul Cummings, November 24, 1971

Category:1915 births Category:1991 deaths Category:Abstract expressionist artists Category:American painters Category:American printmakers Category:United States National Medal of Arts recipients Category:Artists from New York Category:People from New York City Category:People from Greenwich Village, New York Category:Artists from Massachusetts Category:Artists from Washington (state) Category:People from Aberdeen, Washington Category:Harvard Centennial Medal recipients Category:Columbia University alumni Category:Stanford University alumni Category:Hunter College faculty Category:People from Provincetown, Massachusetts Category:Black Mountain College faculty Category:Archives of American Art related

cs:Robert Motherwell de:Robert Motherwell es:Robert Motherwell fr:Robert Motherwell it:Robert Motherwell nl:Robert Motherwell pl:Robert Motherwell pt:Robert Motherwell ru:Мазервелл, Роберт sv:Robert Motherwell th:โรเบิร์ต มาเธอร์เวลล์

bgcolour	#6495ED
name	Roy Lichtenstein
birth name	Roy Fox Lichtenstein
birth date	October 27, 1923
birth place	Manhattan, New York, U.S.
death date	September 29, 1997
death place	Manhattan, New York, U.S.
nationality	American
field	Painting, Sculpture
training	Ohio State University
movement	Pop Art
awards	}}

Roy Lichtenstein (October 27, 1923 – September 29, 1997) was a prominent American pop artist. During the 1960s his paintings were exhibited at the Leo Castelli Gallery in New York City and along with Andy Warhol, Jasper Johns, James Rosenquist and others he became a leading figure in the new art movement. His work defined the basic premise of pop art better than any other through parody. Favoring the old-fashioned comic strip as subject matter, Lichtenstein produced hard-edged, precise compositions that documented while it parodied often in a tongue-in-cheek humorous manner. His work was heavily influenced by both popular advertising and the comic book style. He himself described Pop Art as, "not 'American' painting but actually industrial painting".

Early years

Roy Lichtenstein was born in Manhattan into an upper-middle-class Jewish New York City family and attended public school until the age of 12. He then enrolled at Manhattan's Franklin School for Boys, remaining there for his secondary education. Art was not included in the school's curriculum; Lichtenstein first became interested in art and design as a hobby. 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. After graduation from Franklin, 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 the Ohio State University, which offered studio courses and a degree in fine arts. His studies were interrupted by a three-year stint in the army during and after World War II between 1943 and 1946. Lichtenstein returned home to visit his dying father and was discharged from the army under 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 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 M.F.A. degree from the Ohio State University and in the same year married Isabel Wilson who was previously married to Ohio artist Michael Sarisky (Isabel divorced Roy Lichtenstein in 1965). In 1951 Lichtenstein had his first one-man 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 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. He then had his second son, Mitchell Lichtenstein 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, a late convert to this style of painting. From 1970 until his death, Lichtenstein split his time between New York city and a house near the beach in Southampton.

Rise to fame

Lichtenstein began teaching in upstate New York at the State University of New York at Oswego in 1958. However, the brutal upstate winters were taking a toll on him and his wife.

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 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 opened. In September 1963 he took a leave of absence from his teaching position at Douglass College at Rutgers.

Fame

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 paint in his best known works, such as ''Drowning Girl'' (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.) Also featuring thick outlines, bold colors and Ben-Day dots to represent certain colors, as if created by photographic reproduction. Lichtenstein would say of his own work: 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 Kline's."

Rather than attempt to reproduce his subjects, his work tackled the way mass media portrays them. Lichtenstein would never take himself too seriously however: "I think my work is different from comic strips- but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art". When his work was first released, many art critics of the time challenged its originality. More often than not they were making no attempt to be positive. 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 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 the criticism that makes you wonder, it does.”

His most famous image is arguably ''Whaam!'' (1963, Tate Modern, London), one of the earliest known examples of pop art, adapted a comic-book panel from a 1962 issue of DC Comics' ''All-American Men of War''. The painting depicts a fighter aircraft firing a rocket into an enemy plane, with a red-and-yellow explosion. The cartoon style is heightened by the use of the onomatopoeic lettering ''"Whaam!"'' and the boxed caption ''"I pressed the fire control... and ahead of me rockets blazed through the sky..."'' This diptych is large in scale, measuring 1.7 x 4.0 m (5 ft 7 in x 13 ft 4 in).

Most of his best-known artworks are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965. (He would occasionally incorporate comics 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 Lichtenstein's use of comic-book imagery, especially insofar as that use has been seen as endorsement of a patronizing view of comic by the art mainstream; noted comics author Art Spiegelman commented that "Lichtenstein did no more or less for comics than Andy Warhol did for soup."

In 1967, his first museum retrospective exhibition was held at the Pasadena Art Museum in California. Also in this year, his first solo exhibition in Europe was held at museums in Amsterdam, London, Bern and Hannover. He married his second wife, Dorothy Herzka in 1968.

In the 1970s and 1980s, his style began to loosen and he expanded on what he had done before. He produced 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.

In the late 1970s, this style was replaced with more surreal works such as ''Pow Wow'' (1979, Ludwig Forum für Internationale Kunst, Aachen).

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.

In addition to paintings, he also made sculptures in metal and plastic including some notable public sculptures such as ''Lamp'' in St. Mary’s, Georgia in 1978, and over 300 prints, mostly in screenprinting.

In 1996 the National Gallery of Art in Washington, D.C. became the largest single repository of the artist's work when he donated 154 prints and 2 books. In total there are some 4,500 works thought to be in circulation.

He died of pneumonia in 1997 at New York University Medical Center.

He was survived by his second wife, Dorothy, and by his sons, David and Mitchell, from his first marriage. 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."

Relevance

Pop art continues to influence the 21st century. Lichtenstein and Andy 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 destroyed 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 ''Night at the Museum: Battle of the Smithsonian''.

Posthumous sales

His painting ''Torpedo...Los!'' sold at Christie's for $5.5 million in 1989, a record sum at the time, making him one of only three living artists to have attracted such huge sums.

In 2005, ''In the Car'' was sold for a then record $16.2m (£10m).

His cartoon-style 1964 painting ''"Ohhh . . . Alright . . ."'' was sold at a record $42.6m (£26.4m) at a sale at Christies in New York, on 11 November 2010.

Awards

1995 National Medal of the Arts, Washington D.C.

1995 Kyoto Prize, Inamori Foundation, Kyoto, Japan.

1993 Amici de Barcelona, from Mayor Pasqual Maragall, L’Alcalde de Barcelona.

1991 Creative Arts Award in Painting, Brandeis University, Waltham, Massachusetts.

1989 American Academy in Rome, Rome, Italy. Artist in residence.

1979 American Academy of Arts and Letters, New York.

1977 Skowhegan Medal for Painting, Skowhegan School, Skowhegan, Maine.

References

Further reading

''Roy Lichtenstein'' by Janis Hendrickson - ISBN 3-8228-0281-6

''The Prints of Roy Lichtenstein: A Catalogue Raisonné 1948-1997'' by Mary L. Corlett - ISBN 1-55595-196-1

''Roy Lichtenstein (Modern Masters Series, Vol. 1)'' by Lawrence Alloway - ISBN 0-89659-331-2

''Roy Lichtenstein Interview with Chris Hunt'' Image Entertainment video, 1991

''Roy Lichtenstein Interview with Melvyn Bragg'' video

''Off Limits: Rutgers University and the Avant-Garde, 1957-1963'' - Ed. Joan Marter - ISBN 0-8135-2609-4

''Roy Lichtenstein's ABC's'' by Bob Adelman - ISBN 978-0-8212-2591-2

''Roy Lichtenstein Drawings and Prints '' 1970 Chelsea House publishers, introduction by Diane Waldman''

External links

Roy Lichtenstein Foundation

Roy Lichtenstein Image Duplicator

The Art Archive: Roy Lichtenstein

Deconstructing Roy Lichtenstein (sources for Lichtenstein's comic-book paintings)

Inside Roy Lichtenstein's Studio 1990-92

Roy Lichtenstein - slideshow by ''The New York Times''

1977 BMW 320i with special paintjob by Roy Lichtenstein

Roy Lichtenstein's public artwork at Times Square-42nd Street, commissioned by MTA Arts for Transit.

Roy Lichtenstein: Pop Art's Most Popular; His Whimsical Paintings Once Evoked the "Shock of the New"; Now They Evoke Record Prices on the Auction Block

Category:1923 births Category:1997 deaths Category:American painters Category:American printmakers Category:United States National Medal of Arts recipients Category:Art Students League of New York alumni Category:People from Manhattan Category:Artists from New York Category:Ohio State University alumni Category:Pop artists Category:20th-century painters Category:State University of New York at Oswego faculty

bs:Roy Lichtenstein br:Roy Lichtenstein ca:Roy Lichtenstein da:Roy Lichtenstein de:Roy Lichtenstein el:Ρόι Λίχτενσταϊν es:Roy Lichtenstein fa:روی لیختنشتاین fr:Roy Lichtenstein gl:Roy Lichtenstein ko:로이 릭턴스타인 hr:Roy Lichtenstein id:Roy Lichtenstein is:Roy Lichtenstein it:Roy Lichtenstein he:רוי ליכטנשטיין ka:როი ლიხტენშტეინი lt:Roy Lichtenstein hu:Roy Lichtenstein mk:Рој Лихтенштајн nl:Roy Lichtenstein ja:ロイ・リキテンスタイン no:Roy Lichtenstein pl:Roy Lichtenstein pt:Roy Lichtenstein ro:Roy Lichtenstein ru:Лихтенштейн, Рой simple:Roy Lichtenstein sr:Рој Ликтенстајн fi:Roy Lichtenstein sv:Roy Lichtenstein tr:Roy Lichtenstein