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拍品专文
Executed circa 1955, this work will be included in the forthcoming catalogue raisonné being prepared by the Roy Lichtenstein Foundation.
About our Lichtensteins
My parents, Morris and Mary Solotorovsky, were true bohemians and passionate about the arts. They became friends with Roy and Isabel Lichtenstein in the 1950s. I believe they met through Stan and Ann Twardowicz. Stan was an abstract painter and Ann was also a painter. My parents later reconnected with the Lichtensteins in the early 1960s when Roy took a teaching position at Douglas College, Rutgers University. My father was also a professor teaching microbiology at Rutgers at the time.
The two families became very close during this period before Roy became famous for his new, radical, Pop Art works in 1963. My parents acquired A Bad Treaty, a large oil painting, and three construction pieces with American Indian themes in the early 1960s. All four artworks were hung in an expansive living and dining room in their mid-century home designed by Otto Kolb, a student of Mies van der Rohe's.
One weekend, when my family was having lunch at the Lichtenstein's in Highland Park, Roy took us upstairs to show us a painting of Donald Duck and Mickey Mouse he was working on and painted a bit of it to show us his technique. We all thought the painting was amazing. On another occasion, Roy and Isabel came over for supper and Roy drew a mural in pastels on a large expanse of slate above the fireplace. When we moved, my parents said, "Whatever you do, don't erase the Lichtenstein!" But, the new owners didn't pay heed Lastly, on a personal note, I had the pleasure of babysitting for David and Mitchell Lichtenstein when I was a teenager. They were the sweetest boys.
"This untitled assemblage is evidently part of a series that Lichtenstein called his "splinters" worksBusche has referred to these constructions as 'Lichtenstein's attempt to make it appear at least possible that they were objects created by Indians... aboriginal artifacts themselves' which are modernized and made of urban found objects, rather than the natural materials of Native Americans." ( Ernst Busche, Roy Lichtenstein: Das Fruhwerk, 1942-1960, Berlin, 1988, Ch. V, pp. 20-21. In G. Stavitsky and T. Johnson, Roy Lichtenstein: American Indian Encounters,"exh. cat. Montclair Art Museum et al., 2006, p. 18).
About our Lichtensteins
My parents, Morris and Mary Solotorovsky, were true bohemians and passionate about the arts. They became friends with Roy and Isabel Lichtenstein in the 1950s. I believe they met through Stan and Ann Twardowicz. Stan was an abstract painter and Ann was also a painter. My parents later reconnected with the Lichtensteins in the early 1960s when Roy took a teaching position at Douglas College, Rutgers University. My father was also a professor teaching microbiology at Rutgers at the time.
The two families became very close during this period before Roy became famous for his new, radical, Pop Art works in 1963. My parents acquired A Bad Treaty, a large oil painting, and three construction pieces with American Indian themes in the early 1960s. All four artworks were hung in an expansive living and dining room in their mid-century home designed by Otto Kolb, a student of Mies van der Rohe's.
One weekend, when my family was having lunch at the Lichtenstein's in Highland Park, Roy took us upstairs to show us a painting of Donald Duck and Mickey Mouse he was working on and painted a bit of it to show us his technique. We all thought the painting was amazing. On another occasion, Roy and Isabel came over for supper and Roy drew a mural in pastels on a large expanse of slate above the fireplace. When we moved, my parents said, "Whatever you do, don't erase the Lichtenstein!" But, the new owners didn't pay heed Lastly, on a personal note, I had the pleasure of babysitting for David and Mitchell Lichtenstein when I was a teenager. They were the sweetest boys.
"This untitled assemblage is evidently part of a series that Lichtenstein called his "splinters" worksBusche has referred to these constructions as 'Lichtenstein's attempt to make it appear at least possible that they were objects created by Indians... aboriginal artifacts themselves' which are modernized and made of urban found objects, rather than the natural materials of Native Americans." ( Ernst Busche, Roy Lichtenstein: Das Fruhwerk, 1942-1960, Berlin, 1988, Ch. V, pp. 20-21. In G. Stavitsky and T. Johnson, Roy Lichtenstein: American Indian Encounters,"exh. cat. Montclair Art Museum et al., 2006, p. 18).