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  • Andy Warhol Paolo Uccello St. George and the Dragon, 1460

    As early as 1964, Andy Warhol received the nickname of “Saint Andy.” This title referred more to his immense popularity among the young Pop crowd, and to the authentically innocent façade of Warhol’s physical appearance than to religious devotion. Not until his death did news of Warhol’s relationship to the spiritual come to serious attention by the public. 

    John Richardson’s eulogy of Warhol at his memorial mass at St. Patrick’s Cathedral asked his audience to “recall a side of [Warhol’s] character that he hid from all but his closest friends: his spiritual side,” calling this spirituality “the key to the artist’s psyche.”

    In the Details of Renaissance Paintings series Andy Warhol cropped paintings by Renaissance masters, abstracting the sections from a larger whole, stripping them of the original context and blurring the original meaning of the paintings. Does Andy Warhol mean to make a social commentary on how we consume works of art? With a cut here, and a dash of color there, Warhol creates fetishized knock-offs to signal the commodification of the art industry.

    Or did Warhol create Paolo Uccello St. George and the Dragon, 1460 with reverence to the original masterpieces, influenced by his religious and spiritual life? As with most theories about Warhol’s deepest beliefs and intentions, the answer is probably that both these ideas coexist at once, creating the tension that makes Andy Warhol’s work so captivating.

    Paolo Uccello St. George and the Dragon, 1460 (1984) by Andy Warhol is an original screenprint on Arches Aquarelle (Cold Pressed) paper. Paolo Uccello St. George and the Dragon, 1460 is from the portfolio Details of Renaissance Paintings and is the edition 33 of 50. The original screenprint is hand signed and numbered in pencil and referenced in Feldman II.327. For more information about Paolo Uccello St. George and the Dragon, 1460 or Andy Warhol please contact the gallery. Call for Value

    • Roy Lichtenstein Forms in Space

      In his studio on 29th Street in New York City, Roy Lichtenstein created a new print of the American flag. In “Forms in Space”, the artist toyed subtly with the American Flag’s formal makeup, slanting and upping the number of stripes and inverting the colors used in the upper left corner, replacing the flag’s iconic white stars with rows of simple blue circles. 

      Forms in Space resembles other 20th century artists’ renderings of the American flag, such as Jasper John’s Flag prints of the 1950s, and Claus Oldenburg’s flag sculptures and paintings of the 1960s. In late May of 1985, the original screenprint Forms in Space was contributed for the Institute of Contemporary Art at the University of Pennsylvania fund-raising event called “Round the Flag,” a theme-based fundraiser that celebrated American symbols and morals.

      What were Roy Lichtenstein’s thoughts on American morals? We can gleam a peak of what influenced Forms in Space from the article “What is Pop Art? Interviews with eight painters.” Roy Lichtenstein said “Everybody has called Pop Art 'American' painting, but it's actually industrial painting. America was hit by industrialism and capitalism harder and sooner and its values seem more askew...I think the meaning of my work is that it’s industrial; it’s what all the world will soon become. Europe will be the same way, soon, so it [Pop Art] won’t be American; it will be universal.”

      Forms in Space (1985) by Roy Lichtenstein is an original screenprint on Rives BFK paper. Forms in Space is referenced in Corlett 217 and hand signed in pencil. Forms in Space is an edition 118 of 125. For more information about Forms in Space or Roy Lichtenstein please contact the gallery. SOLD

      • Robert Indiana The German Love

        “Some people like to paint trees. I like to paint love. I find it more meaningful than painting trees.” --  Robert Indiana 

        Love is a subject of great spiritual significance for Robert Indiana. The word permeates his art and first appeared in his 1964 piece “Love Is God,” which was inspired by an inscription in the Christian Science churches he attended in his youth. 

        Love was born from experiments with a composition of stacked letters in a series of 1964 rubbings. Indiana turned this inventive design, a formal departure from his previous works, into different hard-edged color variations. This original serigraph "German Love" features the colors of the German flag.

        In German Love, the letter “O” is tilted as if it were being swept off its feet. Love can be read as a simple statement about relationships, or can have a more layered interpretation. The canted “O” creates a sense of instability in the work that adds complexity to its meaning. The image’s popularity emphasizes its great resonance with large and diverse audiences, and has become an icon of modern art. The universality of the subject, to which Indiana continues to return, is further evidenced by his translation of LOVE into AHAVA (Hebrew) and AMOR (Spanish). 

        German Love (1968) by Robert Indiana is an original serigraph in colors on wove paper. German Love is hand signed in pencil and an edition of 73 out of 100. For more information about Robert Indiana or German Love, please contact the gallery.$5,995

        • John Baldessari Two Bowlers (with Questioning Person)

          For five decades, John Baldessari has been challenging audiences to reconsider the nature of art with wit, humour and a captivating visual sense. His work amuses, unsettles, questions, and makes you look twice and think thrice; laugh out loud; and in general gain a sharpened awareness of the overlapping processes of art-making and art viewing. “I go back and forth between wanting to be abundantly simple and maddeningly complex,” he said. 

          John Baldessari expertly contrasts unrelated photographs to suggest a mysterious or ominous undercurrent. Baldessari has often said that he wants his work to make people stop and look, rather than just take it in passively. “Look at the subject as if you have never seen it before. Examine it from every side. Draw its outline with your eyes or in the air with your hands, and saturate yourself with it.” Baldessari said.

          John Baldessari’s art is saved from its own rigors by his love of color, born of his beginnings as a painter, and his passion for film. The original screenprint and lithograph Two Bowlers (with Questioning Person) is an example of his masterful use of color creating a dyamic set of images. Baldessari has overpainted appropriated images with brightly colored areas of acrylic, isolating elements of imagery to complicate the relationship of parts to the whole. Two Bowlers (with Questioning Person) contains Baldessari’s iconic compelling and puzzling composition and design. 

          The celebrated artist is a recipient of the Americans for the Arts Lifetime Achievement Award and the Golden Lion for Lifetime Achievement awarded by the Venice Biennale. 

          Two Bowlers (with Questioning Person) (1994) by John Baldessari is from the portfolio A French Horn Player, A Square Blue Moon and Other Subjects. Two Bowlers (with Questioning Person) is an original lithograph and screenprint and an edition of 13 out of 43. For more information about John Baldessari, or the the original lithograph and screenprint Two Bowlers (with Questioning Person), please contact the gallery. $9,995 framed

          • Roy Lichtenstein American Indian Theme II

            In 1950  Roy Lichtenstein began a series of jokey takes on heroic myths and legends, involving medieval knights, dragons, and the wooing of damsels, working in the modes of Constructivism and Synthetic Cubism. From there, he developed an interest in the persona of what he called the American knight -- the pioneers of the early American West, as well as the Indians they displaced.

            The second phase of Lichtenstein's Indian-inspired work occurred from 1979 to 1981, long after he had established his familiar Pop style. As in the 1950s works, Lichtenstein was interested in "the cliche of the Indian" and contrasting "the European's view of the Indian against the Indian's view of himself."

            The artworks were stimulated by his experiences in Southampton during the late 1970s when he and his wife resided near a Shinnecock Indian reservation. Combining loose references to indigenous artifacts with a visual style inspired by contemporary printed material, these works bring together two otherwise disparate facets of American culture.

             “They’re just a mixture of every kind of Indian design from Northwest Indians to Plains Indians to Pueblo. They are no particular tribe of Indians.  It’s just everything that people vaguely associated with Indians…Anything that I could think of that was ‘Indian’ got into them.” Roy Lichtenstein said. 

            American Indian Theme II (1980) by Roy Lichtenstein is an original Woodcut on handmade Suzuki paper. American Indian Theme II is referenced in Corlett 161 and hand signed in pencil. American Indian Theme II is an edition AP 9. For more information on American Indian Theme II or Roy Lichtenstein please contact the gallery. SOLD