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keywordPath%3DGXWC
Print
Sweet Dreams Baby!
Pow
Roy Lichtenstein, (New York, NY, 1923 - 1997, New York, NY)
Lichtenstein, Roy
United States
1923 - 1997
Male
37 11/16 x 27 5/8 in. (95.7 x 70.2 cm)
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overall
vertical
image
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sheet
Printer's ink
Printer's ink
1965
1965
1965
1900-2000, 20th century, serigraphs, violence
Print
From the portfolio "Eleven Pop Artists, Volume III"
Gallery label text 2013:
Pop artist Roy Lichtenstein first gained attention for his appropriation and elevation of the visual vocabulary of comic strips. Here he combines humor and drama with his signature Ben-Day dots, thick outlines, speech balloons, and cropped images.
Sweet Dreams Baby! was included in Eleven Pop Artists III, one of a series of three portfolios of prints by American and British Pop artists. Widely circulated in Europe, this portfolio was instrumental in generating international interest in the Pop Art movement.
lower right, below imagelower left, below imageverso
Shelley Lee
1971.66
item
Memorial Art Gallery
9/8/1999
71.66SL1
slide
full
2 x 2
00/00/00
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glossy
full
8 x 10
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negative
full
4 x 5
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71.66DI1
digital image
12/7/2001
http://127.0.0.1:5000/Media/images/71.66_A1.jpg
Print
Birmingham Race Riot
Andy Warhol, 1928 - 1987
Warhol, Andy
United States
1928 - 1987
Male
19 15/16 x 24 in. (50.7 x 61 cm)
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sheet/image
Printer's ink
Printer's ink
1964
1964
1964
1900-2000, 20th century, Charles Rand Penney Collection, politics in art, serigraphs, violence
Print
Andy Warhol frequently appropriated images by other artists for his work. In this case, the image was originally a photograph by Charles Moore in "Life" magazine, May 17, 1963.
[Gallery label text 2013]
This image first appeared in Andy Warhol’s Disasters series, in which the artist selected, cropped, altered, and reproduced mass-circulated news photographs. The series commented upon America’s social ills with photos of suicides, car crashes and nuclear explosions. Birmingham Race Riot captures the racial tensions that gripped the country during the Civil Rights Movement.
Warhol was an eager consumer of newspapers and magazines; he likely saw this photo of the Birmingham riot when it was published in LIFE magazine on May 17, 1963, only five days after the event it immortalized. The original photograph was taken by Charles Moore.
lower right, in the image
1975.335.10
item
Memorial Art Gallery
9/8/1999
glossy
8x10
00/00/00
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negative
4x5
00/00/00
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75.335.10DI1
digital image
12/5/2001
http://127.0.0.1:5000/Media/images/75.335.10_A1.jpg
75.335.10DI#2
digital image
2/13/2015
http://127.0.0.1:5000/Media/images/75.335.10_A2.jpg
Print
The Death of Richard II (after Francis Wheatley)
Anker Smith, (London, 1759 - 1819, London?)
Smith, Anker
England
1759 - 1819
Male
Engraver
Wheatley, Francis
England
1747 - 1801
Male
Original artist
12 11/16 x 8 13/16 in. (32.2 x 22.4 cm)
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sheet
Printer's ink
Printer's ink
1795
1795
1795
1600-1800, 18th century, armor, engravings, violence, world history
Print
1987.3
item
Memorial Art Gallery
8/18/2000
87.3SL1
slide
full
2 x 2
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negative
4 x 5
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87.3DI1
digital image
2 x 2
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87.3DI2
digital image
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Painting
The Death of Richard II
Francis Wheatley, (London, 1747 - 1801)
Wheatley, Francis
England
1747 - 1801
Male
78 x 60 in. (198.1 x 152.4 cm)
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overall
frame
Oil
Oil
ca. 1792-1793
1792
1793
1600-1800, 18th century, armor, men, paintings, violence, world history
Painting
Francis Wheatley was best known for his historical paintings, scenes of daily life, and portraits. He trained at the Royal Academy in London and became the director of the Society of Artists in 1774. Debts and an unfortunate affair with the wife of a colleague led to his abrupt departure from England to Ireland. He returned in 1783, when he began painting illustrations for works by contemporary authors. The success of these “painted illustrations” led to major commissions, including the one for this monumental painting from the print publisher Robert Bowyer.
One of Bowyer’s most ambitious projects was an illustrated edition of David Hume’s "The History of England." It comprised not only a lavish publication, but the creation of a “History Gallery” for the public display of the original paintings. According to Bowyer’s prospectus, the paintings were intended “to rouse the passions, to fire the mind with emulation of heroic deeds, or to inspire it with detestation of criminal actions.”
Wheatley responded to this challenge by depicting the more dramatic version of Richard’s death, in which he was beheaded rather than starved in prison. The theatrical gestures and expressions, lurid coloring, and bold brushwork serve to heighten the violent drama of the events. In the end, the project was a financial disaster; the paintings from the gallery, including Wheatley’s "The Death of Richard II," were sold in a lottery in 1807.
[Label text from It Came From the Vault exhibition, 2013]
1987.1
item
Memorial Art Gallery
11/3/2000
87.1TR1
transparency
8 x 10
00/00/00
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87.1SL1
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full
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glossy
8x10
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negative
4x5
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87.1DI1
digital image
8 x 10
00/00/00
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87.1DI2
digital image
00/00/00
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Print
The Brawl (La Rixe)
Felix Vallotton, 1865 - 1925
Vallotton, Felix
Switzerland
1865 - 1925
Male
10 5/8 x 14 1/8 in. (27 x 35.9 cm)
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overall
horizontal
image
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sheet
Printer's ink
Printer's ink
1892
1892
1892
1800-1900, 19th century, men, violence, women, woodcuts
Print
lower right, below imagelower right, in image, in the blockverso
1984.17
item
Memorial Art Gallery
5/29/2001
negative
full
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.17DI1
digital image
3/13/2002
http://127.0.0.1:5000/Media/images/84.17_A1.jpg
84.17SL1
slide
full
2 x 2
00/00/00
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