ROY LICHTENSTEIN (1923-1997)
ROY LICHTENSTEIN (1923-1997)
ROY LICHTENSTEIN (1923-1997)
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ROY LICHTENSTEIN (1923-1997)
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Property from an Esteemed Private Collection
ROY LICHTENSTEIN (1923-1997)

Brushstrokes in Flight

细节
ROY LICHTENSTEIN (1923-1997)
Brushstrokes in Flight
incised with the artist's signature, number and date '5⁄6 rf Lichtenstein '83' (on the base)
painted and patinated bronze
55 ¼ x 21 x 10 in. (140.3 x 53.3 x 25.4 cm)
Executed in 1983. This work is number five from an edition of six plus one posthumous cast.
来源
Leo Castelli Gallery, New York
Acquired from the above by the present owner, 1984
出版
V. Illés, "Schilderen of het gedrukt staat," Elsevier, July 1987 (another example illustrated on the cover).
M. Brenson, "'Sculpture by Painters at the Pace," The New York Times, 30 June 1989, p. C21.
A. Hindry, ed., "Roy Lichtenstein," Artstudio, Spring 1991, p. 29 (another example illustrated).
S.E. Canning, "Lichtenstein's Brushstroke Legacy at Mitchell-Innes and Nash While Gagosian Installs 'Brushstroke' at the Seagram Building Plaza,' Art Newspaper, November 2001, p. 73 (another example illustrated).
A. Theil, Roy Lichtenstein: A Catalogue Raisonné, digital, ongoing, no. RLCR 3167 (another example illustrated).
展览
New York, Leo Castelli Gallery, Roy Lichtenstein: Paintings; Greene Street Mural, December 1983-January 1984 (another example exhibited).
New York, 65 Thompson Street, Roy Lichtenstein: Bronze Sculptures, 1976-1989, May-July 1989, p. 67, no. 24 (another example exhibited and illustrated).
New York, Pace Gallery, Sculpture by Painters, June-September 1989 (another example exhibited).
East Hampton, Guild Hall, Roy Lichtenstein: Three Decades of Sculpture, August-October 1992, n.p. (another example exhibited).
Pully-Lausanne, FAE Musée d'Art Contemporain and Tate Liverpool, Roy Lichtenstein, September 1992-April 1983, p. 125 (another example exhibited).
Mexico City, Museo del Palacio de Bellas Artes; Mexico, Museo de Arte Contemporáneo de Monterrey; Washington D.C., Corcoran Gallery of Art; Valencia, Instituto Valenciano de Arte Moderno; A Coruña, Fundación Pedro Barrié de la Maza and Lisbon, Centro Cultural de Belém, Roy Lichtenstein: Imágenes reconocibles: Escultura, pintura y gráfica, July 1998-August 2000, pp. 36 and 155 (Spanish edition), p. 141, no. 90 (English edition) (another example exhibited and illustrated).
New York, Mitchell-Innes & Nash and Zürich, de Pury and Luxembourg, Roy Lichtenstein: Brushstrokes, Four Decades, November 2001-June 2002, n.p., no. 17 (2001 edition), n.p., no. 12 (2002 edition) (another example exhibited and illustrated).
Miami, Museum of Contemporary Art, Roy Lichtenstein: Inside/Outside, December 2001-February 2002, p. 106 (another example exhibited).
London, Gagosian Gallery and New York, Gagosian Gallery, Roy Lichtenstein: Sculpture, June-September 2005, pp. 60-61 and 118 (another example exhibited and illustrated).
Portland Art Museum, Roy Lichtenstein: Brushstrokes, October 2005-February 2006 (another example exhibited).
Washington D.C., National Gallery of Art, The Robert and Jane Meyerhoff Collection: Selected Works, October 2009-May 2010, n.p. (another example exhibited and installation view illustrated).
Venice, Fondazione Emilio e Annabianca Vedova, Roy Lichtenstein Sculptor, May-November 2013, n.p., no. 132 (another example exhibited and illustrated).
New York, Gagosian Gallery, Roy Lichtenstein: Greene Street Mural, September-October 2015, n.p. (another example exhibited and illustrated and installation view illustrated).
Salzburg, Galerie Thaddaeus Ropac, Roy Lichtenstein: The Loaded Brush, July-September 2019, pp. 104-105 (another example exhibited and illustrated).

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拍品专文

Roy Lichtenstein’s iconic sculpture Brushstrokes in Flight (1983) stands as a testament to the artist’s brilliance as a Pop Art pioneer, seamlessly blending his signature wit with an unrelenting drive to challenge and redefine artistic conventions. In Lichtenstein’s Brushstrokes series of paintings, his signature flat, comic book style—drawing inspiration from American comic books and pulp magazines—is utilized to depict the brushstrokes of an abstract painting. The present work is an expansion on the series, one in which Lichtenstein shifts mediums and disciplines, moving from painting to sculpture.

In this strikingly satirical piece, at once parody and tribute, Lichtenstein represents the bold, gestural brushstrokes of the Abstract Expressionist painters in his characteristic Pop Art style. Thick, animated brushstrokes careen from the sculpture’s base, rendered in bright colors and bold outlines, as though they’ve been lifted from the pages of a pulp magazine. Here, Lichtenstein is at his best, producing an insightful amalgam of two seemingly diametrically opposed postwar American art movements—taking the gestural brushstroke and rendering it in an entirely different medium. Depicting an abstract painting in such an archly mannered, ironic style constitutes a serious feat of both imagination and technique on Lichtenstein’s part. Brushstrokes in Flight is a testament to the unbridled creative impulse and sharp intellect behind the works of a Pop Art master.

The strongly gestural brushstrokes depicted in the present work emerge from the sculpture’s base, at first glance embodying the expressive will of an action painter in the vein of Jackson Pollock, Willem de Kooning, or Franz Kline. One is reminded of the totemic qualities of the modernist sculptures in Brâncuși’s Bird in Space series—the abstract forms of which parallel those in the present work. Notably, Lichtenstein paid direct homage to an iconic Brâncuși sculpture with his Paintings with Sleeping Muse, also from 1983. In Brushstrokes in Flight, the brushstrokes are made three-dimensional, rising up to become vertical figures in space. The artist’s dry wit is on full display—here, Lichtenstein transforms the gestural brushstrokes of abstract painting into a literal totem or monument, acknowledging their status as art historical and cultural signifiers while simultaneously poking fun at their semi-hallowed status.

Art critic Hal Foster aptly captures the essence of Lichtenstein’s Brushstrokes sculptures:

"These pieces exist between painting and sculpture in terms not only of genre but also of structure; where Minimalist objects are neither painting nor sculpture (at least according to Donald Judd), Pop objects tend to be both-and. If most representational painting is a two-dimensional encoding of three-dimensional objects, Lichtenstein reverses the process here and freezes it somewhere in between. Typically, he pushes a two-dimensional image toward a three-dimensional thing yet retains bits of the pictorial illusion as the image-object is displaced into actual space." (H. Foster, “Pop Pygmalion,” Roy Lichtenstein: Sculpture, London, 2005, p. 10).

This conceptual transposition of dimensions bears resemblance to, though not necessarily the visual characteristics of, the works of Pop sculptor Claes Oldenburg, whose creations magnify quotidian objects to monumental scales. It is this “both-and” quality intrinsic to Pop sculpture that Brushstrokes in Flight encapsulates most compellingly—the dual gesture of tribute to and critique of Abstract Expressionism and broader art historical motifs. Brushstrokes in Flight operates simultaneously as a playful deconstruction and a reverent celebration, embodying the high-low dialectics that render Lichtenstein’s oeuvre so captivating. Ultimately, Brushstrokes in Flight transcends mere visual pun; it asserts the enduring power of Pop Art to reconstruct and recontextualize the lexicon of art history and cultural iconography.

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