Femme d'Alger


Femme d'Alger


Roy Lichtenstein (American, 1923-­1997)                 

Medium: Colored Lithograph

Printer/Publisher: Castelli Graphics

Dimensions: 8.75" x 10.75" (19" x 19" with frame)

"The things I have apparently parodied, I actually admire." - Roy Lichtenstein


Through appropriation, repetition, stylization, and parody, Lichtenstein was the first artist to critically and systematically dismantle the history of modern art, though not without deference and respect. 

Lichtenstein never worked from originals, but from reproductions. Indeed, his style of replication could not be mistaken for the original: he always rephrased a source in his own language. Washington Crossing the Delaware I (c. 1951), translates Emanuel Gottlieb Leutze's well-known oil painting from 1851 into the faux-naive, Cubist-inspired style Lichtenstein employed in the 1950s. During the heyday of his comic-inspired Pop works, the artist was simultaneously producing compositions that appropriated the imagery of Pablo Picasso and Piet Mondrian. 

Throughout his career, Lichtenstein applied his comic style to create ersatz versions of Impressionist, Cubist, Futurist, Surrealist, and German Expressionist works, among others. In some cases, he worked from a particular painting; in other cases, as in Grapes (1972) or Still Life with Glass and Peeled Lemon (1972), he worked with generalized conventions of a style or genre. He targeted the works of modern masters like Claude Monet, Henri Matisse, and Willem de Kooning, as well as lesser-known artists and images, such as the Purist paintings of Amédée Ozenfant, the pour paintings of Morris Louis, and Native American motifs. Lichtenstein's dedication to this strategy has proven to be hugely influential to a number of successive artists, including Jeff Koons and Sherrie Levine.


Original oil in the collection of:

The Broad, Los Angeles



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