羅伊·利希滕斯坦全部影視作品
首發(fā)于 qinglite.cn，統(tǒng)計(jì)截止日：2026-01-23
 海邊的村莊 | - |
| 帆船穿過(guò)樹林 | - |
| 帆船 | - |
| 頭 | El Cap de Barcelona is a surrealist sculpture created by American Pop artist Roy Lichtenstein for the 1992 Summer Olympics in Barcelona, Catalonia, Spain. Its English title is The Head. |
| 做好準(zhǔn)備 | - |
| 模仿畢加索的靜物 | - |
| 戴著帽子的女人 | - |
| 坐在輪椅上的女人 | - |
| 紅色的騎士 | - |
| 有人物和彩虹的風(fēng)景 | - |
| 公牛3 | - |
| 公牛6 | - |
| 日落中的人物 | - |
| 吻 | 這幅名為《吻》的作品是列支敦士登最受歡迎時(shí)期創(chuàng)作的幾幅卡通作品之一。我們?cè)谶@幅作品中看到了羅伊·利希滕斯坦(Roy Lichtenstein)繪畫的特點(diǎn)，比如大膽的原色和本日點(diǎn)的使用。乍一看，這件作品似乎傳達(dá)了一種商業(yè)藝術(shù)的印象。然而，如果我們花點(diǎn)時(shí)間去欣賞《吻》中的場(chǎng)景，我們會(huì)發(fā)現(xiàn)這是一個(gè)充滿復(fù)雜情感的戲劇性場(chǎng)景。 |
| 睡蓮與云 | Water Lilies with Cloud 1992 is one of a series of six screenprints on stainless steel that Lichtenstein made on the subject of water lilies, a series which pays homage to Claude Monet’s (1840–1926) ‘Nymphéas’ paintings of water lilies (see, for example, Water Lilies after 1916 [Tate L01903]). Two others from the series are also in Tate’s collection: Water Lilies with Japanese Bridge 1992 (Tate AL00373 ) and Water Lily Pond with Reflections 1992 (Tate AL00374 ). Lichtenstein collaborated with Donald Saff at Saff Tech Arts in Oxford, Maryland to produce the prints. Tate’s copies are from the set of artist’s proofs aside from the edition of twenty-three, and are recorded in the catalogue raisonné of the artist’s prints (Corlett 1994, pp.241–2). These works are a highly accomplished and innovative form of printmaking on stainless steel, and involved the development of a new technique in order to achieve a particular pattern on the metal. As Mary Lee Corlett noted in the catalogue raisonné: the swirl patterns in the metal dashboards that Lichtenstein remembered from the automobiles of the 1920s and 1930s had been a longtime interest of his, but one that had not found expression until the Saff Tech Arts project. At Saff Tech, a method was developed to create the swirls, using a drill press fitted with a rubber end and suspended upside down from the ceiling. Production of the pattern was labour intensive, as each swirl was executed individually. Sign painter’s enamel was screenprinted on the metal to build a surface of colour that is collage-like in appearance. Lichtenstein designed all of the original frames. Although not apparent in photographs, the images transmogrify – reflecting the light and colour of the room they occupy, shifting and changing as the prints are viewed from different angles. (Corlett 1994, p.239.) Lichtenstein made numerous paintings and prints based on the work of other artists, including Pablo Picasso and Henri Matisse, and had first made works that paid homage to Monet in 1969, with a series of prints after the French painter’s Cathedral and Haystack series (see Tate P07407 – P07413 ). However, the Water Lilies series can also be related to Lichtenstein’s preoccupation with reflections, the roots of which can be found in his early pop art works, and which he developed throughout his career, most notably in the Mirror paintings made between 1969 and 1972 and which continued in the Reflection series of paintings and prints in the early 1990s (see the series of Reflections prints [Tate P12127 , P12128 and AL00367 – AL00371 ]). Lichtenstein was born in New York, and was a central player in American pop art. He came to prominence in the 1960s, making works based on imagery from comic strips, such as In the Car and Whaam! 1963 (Tate T00897 ). In these works he used the Benday dot, common to newspaper and magazine reproduction, to produce works that appeared mechanically reproduced, and which in fact are even more stylised than the cartoons Lichtenstein appropriated. Printmaking was an integral part of his practice throughout his career from the late 1950s through to the 1990s. |
| 組成III | Composition III 1996 is one of three screenprints published by Gemini G.E.L., Los Angeles and recorded in the second volume of the catalogue raisonné of the artist’s prints (Corlett and Fine 2002), the other two being Composition I 1996 (Tate AL00378 ) and Composition II 1996 (Tate AL00379 ). In these prints Lichtenstein presented arrangements of curving and looping musical staves; no longer fixed on their usual horizontal, linear orientation, the musical notation is set free. Two of the prints – Composition I and Composition III – are vertical in format, while Composition II has a landscape format. The notes and curving staves are set against area of primary colours and the artist’s signature diagonal lines and dots. Music was one of Lichtenstein’s great loves – he played the flute and saxophone and was particularly interested in jazz. These images therefore respond to the freedom and improvisatory nature of this form of music, as well as pointing to the artist’s own exploration of visual composition. This copy of Composition III is number four of thirty-six artist’s proofs aside from the edition of one hundred and eighty-six. Lichtenstein was born in New York, and was a central player in American pop art. He came to prominence in the 1960s, making works based on imagery from comic strips, such as In the Car and Whaam! 1963 (Tate T00897 ). In these works he used the Benday dot, common to newspaper and magazine reproduction, to produce works that appeared mechanically reproduced, and which in fact are even more stylised than the cartoons Lichtenstein appropriated. Printmaking was an integral part of his practice throughout his career from the late 1950s through to the 1990s. |
| 映像:荷花池塘 | Water Lily Pond with Reflections 1992 is one of a series of six screenprints on stainless steel that Lichtenstein made on the subject of water lilies, a series which pays homage to Claude Monet’s (1840–1926) ‘Nymphéas’ paintings of water lilies (see, for example, Water Lilies after 1916 [Tate L01903]). Two others from the series are also in Tate’s collection: Water Lilies with Japanese Bridge 1992 (Tate AL00373 ) and Water Lilies with Cloud 1992 (Tate AL00372 ). Lichtenstein collaborated with Donald Saff at Saff Tech Arts in Oxford, Maryland to produce the prints. Tate’s copies are from the set of artist’s proofs aside from the edition of twenty-three, and are recorded in the catalogue raisonné of the artist’s prints (Corlett 1994, pp.241–2). These works are a highly accomplished and innovative form of printmaking on stainless steel, and involved the development of a new technique in order to achieve a particular pattern on the metal. As Mary Lee Corlett noted in the catalogue raisonné: the swirl patterns in the metal dashboards that Lichtenstein remembered from the automobiles of the 1920s and 1930s had been a longtime interest of his, but one that had not found expression until the Saff Tech Arts project. At Saff Tech, a method was developed to create the swirls, using a drill press fitted with a rubber end and suspended upside down from the ceiling. Production of the pattern was labour intensive, as each swirl was executed individually. Sign painter’s enamel was screenprinted on the metal to build a surface of colour that is collage-like in appearance. Lichtenstein designed all of the original frames. Although not apparent in photographs, the images transmogrify – reflecting the light and colour of the room they occupy, shifting and changing as the prints are viewed from different angles. (Corlett 1994, p.239.) Lichtenstein made numerous paintings and prints based on the work of other artists, including Pablo Picasso and Henri Matisse, and had first made works that paid homage to Monet in 1969, with a series of prints after the French painter’s Cathedral and Haystack series (see Tate P07407 – P07413 ). However, the Water Lilies series can also be related to Lichtenstein’s preoccupation with reflections, the roots of which can be found in his early pop art works, and which he developed throughout his career, most notably in the Mirror paintings made between 1969 and 1972 and which continued in the Reflection series of paintings and prints in the early 1990s (see the series of Reflections prints [Tate P12127 , P12128 and AL00367 – AL00371 ]). Lichtenstein was born in New York, and was a central player in American pop art. He came to prominence in the 1960s, making works based on imagery from comic strips, such as In the Car and Whaam! 1963 (Tate T00897 ). In these works he used the Benday dot, common to newspaper and magazine reproduction, to produce works that appeared mechanically reproduced, and which in fact are even more stylised than the cartoons Lichtenstein appropriated. Printmaking was an integral part of his practice throughout his career from the late 1950s through to the 1990s. |
| 關(guān)于會(huì)話的思考 | Reflections on Conversation 1990 is from a group of seven Reflections prints which Lichtenstein worked on at Tyler Graphics in Mount Kisco, New York during 1989 and 1990. These prints are recorded in the artist’s catalogue raisonné and described as combining ‘lithography, screenprint, and relief with collage and embossing. Swan Engraving, Bridgeport, Connecticut, processed the magnesium plates.’ (Corlett 1994, pp.221–6). Tate’s copies are part of the sixteen artist’s proofs aside from the edition of sixty-eight. The other prints in the series are: Reflections on Hair 1990 (Tate P12127 ), Reflections on Brushstrokes 1990 (Tate P12128 ), Reflections on Crash 1990 (Tate AL00368 ), Reflections on Girl 1990 (Tate AL00369 ), Reflections on Minerva 1990 (Tate AL00370 ) and Reflections on The Scream 1990 (Tate AL00371 ). In all the Reflection prints, the image is partly obscured by semi- abstract blocks of colour and pattern which simulate reflected light, as if the image is seen behind glass or reflected in another surface. The idea was developed by Lichtenstein in a group of paintings he started in 1988 and which he continued to work on until 1993. Speaking of the paintings series in 1995, the artist explained: It started when I tried to photograph a print by Robert Rauschenberg that was under glass. But the light from a window reflected on the surface of the glass and prevented me from taking a good picture. But it gave me the idea of photographing fairly well-known works under glass, where the reflection would hide most of the work, but you could still make out what the subject was. Well, I tried to do a few photographs in this manner; but I am not much of a photographer. Later the idea occurred to me to do the same idea in painting; and I started this series on various early works of mine … It portrays a painting under glass. It is framed and the glass is preventing you from seeing the painting. Of course the reflections are just an excuse to make an abstract work, with the cartoon image being supposedly partly hidden by the reflections. (Roy Lichtenstein, ‘A Review of My Work Since 1961’, in Bader 2009, p.69.) In making the screenprints in the Reflections series, Lichtenstein appropriated imagery from his past works, and particularly from comic book sources, returning to subject matter he had addressed in the 1960s. Lichtenstein’s approach in these reflection works can therefore be read as a witty comment on the techniques of pop artists who themselves quoted and reused imagery found in popular culture, and perhaps an acknowledgement that his own work had entered into popularised visual culture. The idea of reflection in these works also has a precedent in earlier works by Lichtenstein in which mirrors and reflections on glass play a key part, for example, in works derived from comic strips such as In the Car 1963 (Scottish National Gallery of Modern Art, Edinburgh, GMA 2133). Lichtenstein was born in New York, and was a central player in American pop art. He came to prominence in the 1960s, making works based on imagery from comic strips, such as In the Car and Whaam! 1963 (Tate T00897 ). In these works he used the Benday dot, common to newspaper and magazine reproduction, to produce works that appeared mechanically reproduced, and which in fact are even more stylised than the cartoons Lichtenstein appropriated. Printmaking was an integral part of his practice throughout his career from the late 1950s through to the 1990s. |
| 裸體閱讀 | Nude Reading 1994 is one of a series of nine screenprints that Lichtenstein produced in 1994 on the subject of the nude. Other examples from the series in Tate’s collection are Roommates 1994 (Tate AL00376 ) and Two Nudes 1994 (Tate AL00377 ). The prints were made at Tyler Graphics Ltd., Mount Kisco, New York and are recorded in the second volume of the catalogue raisonné of the artist’s prints (Corlett and Fine 2002). As well as using hand-cut stencils to produce his trademark Benday dots in irregularly shaped pieces, Lichtenstein employed computer-generated dye-cut stencils, produced by Swan Engraving, for some of the areas of dots and patterns in these prints. This copy of Nude Reading is number one of twelve artist’s proofs aside from the edition of sixty. In the final years of his life, Lichtenstein took up the theme of the nude – one of the major subjects in the history of visual art – and it became an important part of his late work. As well as series of prints, Lichtenstein made paintings on the subject of the nude, including works such as Nudes with Beach Ball 1994 and Blue Nude 1994. It was the first time that he had approached the subject, but also marked a return to the comic book style of imagery he had first developed in the early 1960s. Rather than working from life, Lichtenstein drew on female figures from the comic books he had first used in the 1960s, removed their clothes and imagined their bare bodies beneath in order to recreate them as nudes. Reproduced as comic-strip heroines, the figures in these works are intentionally provocative, presented to the viewer as a generic object of desire. The nudes also show Lichtenstein developing compositional techniques. Speaking in an interview in 1994, he noted that he explored the subject of the nude because it was ‘a(chǎn) good excuse to contrast undulating and volumetric form with rigid geometry’ (quoted in Robert Hurlburt, ‘Lichtenstein Returns to Comic-Book Style’, Sun-Sentinel, Fort Lauderdale , 13 November 1994, cited in Christie’s, New York, Prints & Multiples , auction catalogue, Sale 2548, 24–5 April 2012). Curator Sheena Wagstaff has explained: In the Nudes, not only did Lichtenstein alter the equation in the compositional tension between motif and formal concerns, but also, crucially, he seized upon a new pictorial language. He deduced and acknowledged the nude as a form through which a new syntax could emerge by means of an understated narrative that implies a relationship between the artist-creator and the nude. (Sheena Wagstaff, ‘Late Nudes’, in Rondeau and Wagstaff 2012, p.95.) The nudes relate to many other areas of Lichtenstein’s output, including reflections, mirrors and interiors, and they demonstrate his ongoing fascination with the modern masters, particularly Pablo Picasso and Henri Matisse. He explained: I’ve always been interested in Matisse but maybe a little more interested in Picasso. But they are both overwhelming influences on everyone, really. Whether one tries to be like them or tries not to be like them, they’re always there as presences to be dealt with. They’re just too formidable to have no interest. I think that somebody who pretends he’s not interested is not interested in art. (Roy Lichtenstein, ‘A Review of My Work Since 1961’, in Bader 2009., p.55.) |
| 關(guān)于尖叫的思考 | Reflections on The Scream 1990 is from a group of seven Reflections prints which Lichtenstein worked on at Tyler Graphics in Mount Kisco, New York during 1989 and 1990. These prints are recorded in the artist’s catalogue raisonné and described as combining ‘lithography, screenprint, and relief with collage and embossing. Swan Engraving, Bridgeport, Connecticut, processed the magnesium plates.’ (Corlett 1994, pp.221–6). Tate’s copies are part of the sixteen artist’s proofs aside from the edition of sixty-eight. The other prints in the series are: Reflections on Hair 1990 (Tate P12127 ), Reflections on Brushstrokes 1990 (Tate P12128 ), Reflections on Crash 1990 (Tate AL00368 ), Reflections on Girl 1990 (Tate AL00369 ), Reflections on Minerva 1990 (Tate AL00370 ) and Reflections on Conversation 1990 (Tate AL00367 ). In all the Reflection prints, the image is partly obscured by semi- abstract blocks of colour and pattern which simulate reflected light, as if the image is seen behind glass or reflected in another surface. The idea was developed by Lichtenstein in a group of paintings he started in 1988 and which he continued to work on until 1993. Speaking of the paintings series in 1995, the artist explained: It started when I tried to photograph a print by Robert Rauschenberg that was under glass. But the light from a window reflected on the surface of the glass and prevented me from taking a good picture. But it gave me the idea of photographing fairly well-known works under glass, where the reflection would hide most of the work, but you could still make out what the subject was. Well, I tried to do a few photographs in this manner; but I am not much of a photographer. Later the idea occurred to me to do the same idea in painting; and I started this series on various early works of mine … It portrays a painting under glass. It is framed and the glass is preventing you from seeing the painting. Of course the reflections are just an excuse to make an abstract work, with the cartoon image being supposedly partly hidden by the reflections. (Roy Lichtenstein, ‘A Review of My Work Since 1961’, in Bader 2009, p.69.) In making the screenprints in the Reflections series, Lichtenstein appropriated imagery from his past works, and particularly from comic book sources, returning to subject matter he had addressed in the 1960s. Lichtenstein’s approach in these reflection works can therefore be read as a witty comment on the techniques of pop artists who themselves quoted and reused imagery found in popular culture, and perhaps an acknowledgement that his own work had entered into popularised visual culture. The idea of reflection in these works also has a precedent in earlier works by Lichtenstein in which mirrors and reflections on glass play a key part, for example, in works derived from comic strips such as In the Car 1963 (Scottish National Gallery of Modern Art, Edinburgh, GMA 2133). Lichtenstein was born in New York, and was a central player in American pop art. He came to prominence in the 1960s, making works based on imagery from comic strips, such as In the Car and Whaam! 1963 (Tate T00897 ). In these works he used the Benday dot, common to newspaper and magazine reproduction, to produce works that appeared mechanically reproduced, and which in fact are even more stylised than the cartoons Lichtenstein appropriated. Printmaking was an integral part of his practice throughout his career from the late 1950s through to the 1990s. |
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