REAL LICHTENSTEIN (1923-1997)

 
<div><font face=Lato size=3>Roy Lichtenstein’s <em>Reverie</em> (1965) is a landmark screenprint that exemplifies the artist’s transformation of comic book imagery into high art. Published as part of the influential <em>11 Pop Artists </em>portfolio, this work comes from an edition of 200, with this impression numbered 121/200. In addition, approximately 50 Roman numeral proofs and a small number of artist’s proofs were also issued. The portfolio, which brought together emerging figures such as Lichtenstein, Andy Warhol, and Tom Wesselmann, played a pivotal role in cementing Pop Art’s place within the contemporary art canon. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Reverie depicts a pensive, stylized heroine rendered in Lichtenstein’s hallmark Ben-Day dots, bold outlines, and primary colors, capturing both the melodrama and restraint of comic-book narrative. The title recalls the nostalgic 1927 song <em>Stardust</em> by Hoagie Carmichael, specifically the line “The melody haunts my reverie,” underscoring the nostalgic mood conveyed in the sitter’s far-off gaze. Lichtenstein himself considered his contributions to <em>11 Pop Artists</em> his first true fine-art prints, the culmination of years mastering multiple printmaking techniques, from etching to screenprinting. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Impressions from this edition are now held in major public collections, including the Art Institute of Chicago, the National Gallery of Art, the Museum of Modern Art, and the Smithsonian American Art Museum, affirming its historical and artistic importance. </font></div> <div><font face=Lato size=3>Roy Lichtenstein’s <em>Reverie</em> (1965) is a landmark screenprint that exemplifies the artist’s transformation of comic book imagery into high art. Published as part of the influential <em>11 Pop Artists </em>portfolio, this work comes from an edition of 200, with this impression numbered 121/200. In addition, approximately 50 Roman numeral proofs and a small number of artist’s proofs were also issued. The portfolio, which brought together emerging figures such as Lichtenstein, Andy Warhol, and Tom Wesselmann, played a pivotal role in cementing Pop Art’s place within the contemporary art canon. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Reverie depicts a pensive, stylized heroine rendered in Lichtenstein’s hallmark Ben-Day dots, bold outlines, and primary colors, capturing both the melodrama and restraint of comic-book narrative. The title recalls the nostalgic 1927 song <em>Stardust</em> by Hoagie Carmichael, specifically the line “The melody haunts my reverie,” underscoring the nostalgic mood conveyed in the sitter’s far-off gaze. Lichtenstein himself considered his contributions to <em>11 Pop Artists</em> his first true fine-art prints, the culmination of years mastering multiple printmaking techniques, from etching to screenprinting. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Impressions from this edition are now held in major public collections, including the Art Institute of Chicago, the National Gallery of Art, the Museum of Modern Art, and the Smithsonian American Art Museum, affirming its historical and artistic importance. </font></div> <div><font face=Lato size=3>Roy Lichtenstein’s <em>Reverie</em> (1965) is a landmark screenprint that exemplifies the artist’s transformation of comic book imagery into high art. Published as part of the influential <em>11 Pop Artists </em>portfolio, this work comes from an edition of 200, with this impression numbered 121/200. In addition, approximately 50 Roman numeral proofs and a small number of artist’s proofs were also issued. The portfolio, which brought together emerging figures such as Lichtenstein, Andy Warhol, and Tom Wesselmann, played a pivotal role in cementing Pop Art’s place within the contemporary art canon. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Reverie depicts a pensive, stylized heroine rendered in Lichtenstein’s hallmark Ben-Day dots, bold outlines, and primary colors, capturing both the melodrama and restraint of comic-book narrative. The title recalls the nostalgic 1927 song <em>Stardust</em> by Hoagie Carmichael, specifically the line “The melody haunts my reverie,” underscoring the nostalgic mood conveyed in the sitter’s far-off gaze. Lichtenstein himself considered his contributions to <em>11 Pop Artists</em> his first true fine-art prints, the culmination of years mastering multiple printmaking techniques, from etching to screenprinting. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Impressions from this edition are now held in major public collections, including the Art Institute of Chicago, the National Gallery of Art, the Museum of Modern Art, and the Smithsonian American Art Museum, affirming its historical and artistic importance. </font></div> <div><font face=Lato size=3>Roy Lichtenstein’s <em>Reverie</em> (1965) is a landmark screenprint that exemplifies the artist’s transformation of comic book imagery into high art. Published as part of the influential <em>11 Pop Artists </em>portfolio, this work comes from an edition of 200, with this impression numbered 121/200. In addition, approximately 50 Roman numeral proofs and a small number of artist’s proofs were also issued. The portfolio, which brought together emerging figures such as Lichtenstein, Andy Warhol, and Tom Wesselmann, played a pivotal role in cementing Pop Art’s place within the contemporary art canon. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Reverie depicts a pensive, stylized heroine rendered in Lichtenstein’s hallmark Ben-Day dots, bold outlines, and primary colors, capturing both the melodrama and restraint of comic-book narrative. The title recalls the nostalgic 1927 song <em>Stardust</em> by Hoagie Carmichael, specifically the line “The melody haunts my reverie,” underscoring the nostalgic mood conveyed in the sitter’s far-off gaze. Lichtenstein himself considered his contributions to <em>11 Pop Artists</em> his first true fine-art prints, the culmination of years mastering multiple printmaking techniques, from etching to screenprinting. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Impressions from this edition are now held in major public collections, including the Art Institute of Chicago, the National Gallery of Art, the Museum of Modern Art, and the Smithsonian American Art Museum, affirming its historical and artistic importance. </font></div> <div><font face=Lato size=3>Roy Lichtenstein’s <em>Reverie</em> (1965) is a landmark screenprint that exemplifies the artist’s transformation of comic book imagery into high art. Published as part of the influential <em>11 Pop Artists </em>portfolio, this work comes from an edition of 200, with this impression numbered 121/200. In addition, approximately 50 Roman numeral proofs and a small number of artist’s proofs were also issued. The portfolio, which brought together emerging figures such as Lichtenstein, Andy Warhol, and Tom Wesselmann, played a pivotal role in cementing Pop Art’s place within the contemporary art canon. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Reverie depicts a pensive, stylized heroine rendered in Lichtenstein’s hallmark Ben-Day dots, bold outlines, and primary colors, capturing both the melodrama and restraint of comic-book narrative. The title recalls the nostalgic 1927 song <em>Stardust</em> by Hoagie Carmichael, specifically the line “The melody haunts my reverie,” underscoring the nostalgic mood conveyed in the sitter’s far-off gaze. Lichtenstein himself considered his contributions to <em>11 Pop Artists</em> his first true fine-art prints, the culmination of years mastering multiple printmaking techniques, from etching to screenprinting. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Impressions from this edition are now held in major public collections, including the Art Institute of Chicago, the National Gallery of Art, the Museum of Modern Art, and the Smithsonian American Art Museum, affirming its historical and artistic importance. </font></div> <div><font face=Lato size=3>Roy Lichtenstein’s <em>Reverie</em> (1965) is a landmark screenprint that exemplifies the artist’s transformation of comic book imagery into high art. Published as part of the influential <em>11 Pop Artists </em>portfolio, this work comes from an edition of 200, with this impression numbered 121/200. In addition, approximately 50 Roman numeral proofs and a small number of artist’s proofs were also issued. The portfolio, which brought together emerging figures such as Lichtenstein, Andy Warhol, and Tom Wesselmann, played a pivotal role in cementing Pop Art’s place within the contemporary art canon. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Reverie depicts a pensive, stylized heroine rendered in Lichtenstein’s hallmark Ben-Day dots, bold outlines, and primary colors, capturing both the melodrama and restraint of comic-book narrative. The title recalls the nostalgic 1927 song <em>Stardust</em> by Hoagie Carmichael, specifically the line “The melody haunts my reverie,” underscoring the nostalgic mood conveyed in the sitter’s far-off gaze. Lichtenstein himself considered his contributions to <em>11 Pop Artists</em> his first true fine-art prints, the culmination of years mastering multiple printmaking techniques, from etching to screenprinting. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Impressions from this edition are now held in major public collections, including the Art Institute of Chicago, the National Gallery of Art, the Museum of Modern Art, and the Smithsonian American Art Museum, affirming its historical and artistic importance. </font></div> <div><font face=Lato size=3>Roy Lichtenstein’s <em>Reverie</em> (1965) is a landmark screenprint that exemplifies the artist’s transformation of comic book imagery into high art. Published as part of the influential <em>11 Pop Artists </em>portfolio, this work comes from an edition of 200, with this impression numbered 121/200. In addition, approximately 50 Roman numeral proofs and a small number of artist’s proofs were also issued. The portfolio, which brought together emerging figures such as Lichtenstein, Andy Warhol, and Tom Wesselmann, played a pivotal role in cementing Pop Art’s place within the contemporary art canon. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Reverie depicts a pensive, stylized heroine rendered in Lichtenstein’s hallmark Ben-Day dots, bold outlines, and primary colors, capturing both the melodrama and restraint of comic-book narrative. The title recalls the nostalgic 1927 song <em>Stardust</em> by Hoagie Carmichael, specifically the line “The melody haunts my reverie,” underscoring the nostalgic mood conveyed in the sitter’s far-off gaze. Lichtenstein himself considered his contributions to <em>11 Pop Artists</em> his first true fine-art prints, the culmination of years mastering multiple printmaking techniques, from etching to screenprinting. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Impressions from this edition are now held in major public collections, including the Art Institute of Chicago, the National Gallery of Art, the Museum of Modern Art, and the Smithsonian American Art Museum, affirming its historical and artistic importance. </font></div> <div><font face=Lato size=3>Roy Lichtenstein’s <em>Reverie</em> (1965) is a landmark screenprint that exemplifies the artist’s transformation of comic book imagery into high art. Published as part of the influential <em>11 Pop Artists </em>portfolio, this work comes from an edition of 200, with this impression numbered 121/200. In addition, approximately 50 Roman numeral proofs and a small number of artist’s proofs were also issued. The portfolio, which brought together emerging figures such as Lichtenstein, Andy Warhol, and Tom Wesselmann, played a pivotal role in cementing Pop Art’s place within the contemporary art canon. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Reverie depicts a pensive, stylized heroine rendered in Lichtenstein’s hallmark Ben-Day dots, bold outlines, and primary colors, capturing both the melodrama and restraint of comic-book narrative. The title recalls the nostalgic 1927 song <em>Stardust</em> by Hoagie Carmichael, specifically the line “The melody haunts my reverie,” underscoring the nostalgic mood conveyed in the sitter’s far-off gaze. Lichtenstein himself considered his contributions to <em>11 Pop Artists</em> his first true fine-art prints, the culmination of years mastering multiple printmaking techniques, from etching to screenprinting. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Impressions from this edition are now held in major public collections, including the Art Institute of Chicago, the National Gallery of Art, the Museum of Modern Art, and the Smithsonian American Art Museum, affirming its historical and artistic importance. </font></div> <div><font face=Lato size=3>Roy Lichtenstein’s <em>Reverie</em> (1965) is a landmark screenprint that exemplifies the artist’s transformation of comic book imagery into high art. Published as part of the influential <em>11 Pop Artists </em>portfolio, this work comes from an edition of 200, with this impression numbered 121/200. In addition, approximately 50 Roman numeral proofs and a small number of artist’s proofs were also issued. The portfolio, which brought together emerging figures such as Lichtenstein, Andy Warhol, and Tom Wesselmann, played a pivotal role in cementing Pop Art’s place within the contemporary art canon. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Reverie depicts a pensive, stylized heroine rendered in Lichtenstein’s hallmark Ben-Day dots, bold outlines, and primary colors, capturing both the melodrama and restraint of comic-book narrative. The title recalls the nostalgic 1927 song <em>Stardust</em> by Hoagie Carmichael, specifically the line “The melody haunts my reverie,” underscoring the nostalgic mood conveyed in the sitter’s far-off gaze. Lichtenstein himself considered his contributions to <em>11 Pop Artists</em> his first true fine-art prints, the culmination of years mastering multiple printmaking techniques, from etching to screenprinting. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Impressions from this edition are now held in major public collections, including the Art Institute of Chicago, the National Gallery of Art, the Museum of Modern Art, and the Smithsonian American Art Museum, affirming its historical and artistic importance. </font></div> <div><font face=Lato size=3>Roy Lichtenstein’s <em>Reverie</em> (1965) is a landmark screenprint that exemplifies the artist’s transformation of comic book imagery into high art. Published as part of the influential <em>11 Pop Artists </em>portfolio, this work comes from an edition of 200, with this impression numbered 121/200. In addition, approximately 50 Roman numeral proofs and a small number of artist’s proofs were also issued. The portfolio, which brought together emerging figures such as Lichtenstein, Andy Warhol, and Tom Wesselmann, played a pivotal role in cementing Pop Art’s place within the contemporary art canon. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Reverie depicts a pensive, stylized heroine rendered in Lichtenstein’s hallmark Ben-Day dots, bold outlines, and primary colors, capturing both the melodrama and restraint of comic-book narrative. The title recalls the nostalgic 1927 song <em>Stardust</em> by Hoagie Carmichael, specifically the line “The melody haunts my reverie,” underscoring the nostalgic mood conveyed in the sitter’s far-off gaze. Lichtenstein himself considered his contributions to <em>11 Pop Artists</em> his first true fine-art prints, the culmination of years mastering multiple printmaking techniques, from etching to screenprinting. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Impressions from this edition are now held in major public collections, including the Art Institute of Chicago, the National Gallery of Art, the Museum of Modern Art, and the Smithsonian American Art Museum, affirming its historical and artistic importance. </font></div>
Reverie196527 x 23 pulg.(68,58 x 58,42 cm) serigrafía sobre papel tejido
Procedencia
Hamilton Selway
Colección privada
Literatura
Paul Bianchini, ed. Roy Lichtenstein: Drawings and Prints, Lausana, 1970, nº 10, p. 220 (ilustrado en b/n)
Mary Lee Corlett, Los grabados de Roy Lichtenstein: A Catalogue Raisonné, 1948-1993, 2ª ed., Nueva York y Washington, D.C., 2002, no. 38
Andrea Theil y Fundación Roy Lichtenstein, Roy Lichtenstein: A Catalogue Raisonné, Nueva York, lichtensteincatalogue.org, nº 1132

195,000

Reverie (1965), de Roy Lichtenstein, es una serigrafía histórica que ejemplifica la transformación por parte del artista de la imaginería del cómic en arte elevado. Publicada como parte de la influyente carpeta 11 Pop Artists, esta obra procede de una edición de 200 ejemplares, numerados 121/200 en esta impresión. Además, se publicaron unas 50 pruebas con números romanos y un pequeño número de pruebas de artista. La carpeta, que reunió a figuras emergentes como Lichtenstein, Andy Warhol y Tom Wesselmann, desempeñó un papel fundamental en la consolidación del Pop Art en el canon del arte contemporáneo.





Reverie representa a una heroína pensativa y estilizada, representada con los característicos puntos Ben-Day de Lichtenstein, contornos atrevidos y colores primarios, que capturan tanto el melodrama como la contención de la narrativa del cómic. El título recuerda la nostálgica canción Stardust, de Hoagie Carmichael, de 1927, en concreto el verso "The melody haunts my reverie", que subraya la nostalgia que transmite la mirada lejana de la modelo. El propio Lichtenstein consideraba que sus contribuciones a 11 Pop Artists eran sus primeros grabados de bellas artes, la culminación de años de dominio de múltiples técnicas de grabado, desde el aguafuerte a la serigrafía.





Las impresiones de esta edición se conservan actualmente en importantes colecciones públicas, como el Instituto de Arte de Chicago, la Galería Nacional de Arte, el Museo de Arte Moderno y el Museo Smithsonian de Arte Americano, lo que confirma su importancia histórica y artística.
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