Art Of The Sixties
Art Of The Sixties
Signed Print
Roy Lichtenstein
Price data unavailable
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Poster
Year: 1979
Size: H 85cm x W 85cm
Signed: Yes
Format: Signed Print
TradingFloor
MyPortfolio
Your collection tracked in real time.
Build your portfolio, manage valuations, view return against your collection and watch works you're looking for.
Track auction value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| May 2015 | Sotheby's New York - United States | Art Of The Sixties - Signed Print | |||
| November 2007 | Phillips New York - United States | Art Of The Sixties - Signed Print |
Meaning & Analysis
Roy Lichtenstein’s Art Of The Sixties was manufactured in collaboration with Ludwig Museum in Cologne. The main composition was based on the pop master’s 1965 painting titled M-maybe. This coloured screen print poster was used in connection with a retrospective show held at the Tel Aviv Museum in Israel in 1979.
In all of Roy Lichtenstein’s art, we find a particular and unmistakably Western quality; a knowing and laconic examination of the consumer world. His cartoon heroines are appropriated directly from newspaper clippings and romance comic books prevalent in postwar America. As such, Lichtenstein’s images accrue great historical importance in terms of gender politics, commercial media, and the dualism of modern living.
The composition of Art Of The Sixties from 1979 is based on the artist’s 1965 painting titled M-Maybe. An idealised blonde woman is depicted here within a generic night-time cityscape setting. Clad in a white jacket with matching white gloves, the speech bubble above her head announces her distressed inner monologue. She silently awaits her date who never arrives. Characterised by primary hues of red, yellow and blue, Ben Day dots constitute the woman's complexion and add reflection to the windows behind her. With a pictorial language dominated by heavy black outlines, Lichtenstein combines a fine art disposition with the style of machine reproduction.
The poster was originally prepared in collaboration with Ludwig Museum of Cologne, for a retrospective show held at the Tel Aviv Museum of Art in Israel. Lichtenstein was later also commissioned to craft a monumental two-panel mural for the esteemed institution’s foyer.