Editing Roy Lichtenstein (section)

=== Later work ===
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 | image1    = Vincent van Gogh - De slaapkamer - Google Art Project.jpg
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In the early 1960s, Lichtenstein reproduced masterpieces by [[Paul Cézanne|Cézanne]], [[Piet Mondrian|Mondrian]] and [[Pablo Picasso|Picasso]] before embarking on the [[Brushstrokes series|''Brushstrokes'' series]] in 1965.<ref name=RLLA37>{{harvnb |Alloway|1983|p=37}}: "Lichtenstein staked out art as a theme in 1962 in terms of reproductions of masterpieces by Cézanne, Mondrian, and Picasso. The theme reappears in another form in the Brushstrokes of 1965–66: no specific artist is identifiable with them, but at the time the paintings were usually interpreted as a putdown of gestural Abstract Expressionism (the disparity between Lichtenstein's neat technique and the hefty swipes of impasted paint is marked)."</ref> He continued to revisit this theme later in his career with works such as ''[[Bedroom at Arles]]'' that derived from [[Vincent van Gogh]]'s ''[[Bedroom in Arles]]''.

In 1970, Lichtenstein was commissioned by the [[Los Angeles County Museum of Art]] (within its Art and Technology program developed between 1967 and 1971) to make a film. With the help of [[Universal Pictures|Universal Film Studios]], the artist conceived of, and produced, ''Three Landscapes'', a film of marine landscapes, directly related to a series of collages with landscape themes he created between 1964 and 1966.<ref>[http://www.march.es/arte/ingles/madrid/exposiciones/lichtenstein/temporal.asp Roy Lichtenstein: Beginning to End, February 2 – May 27, 2007] Fundación Juan March, Madrid.</ref> Although Lichtenstein had planned to produce 15 short films, the three-screen installation&nbsp;– made with New York-based independent filmmaker [[Joel Freedman]]&nbsp;– turned out to be the artist's only venture into the medium.<ref>Richard Kalina (April 12, 2011), [http://www.artinamericamagazine.com/reviews/roy-lichtenstein/ Roy Lichtenstein] ''Art in America''.</ref>

Also in 1970, Lichtenstein purchased a former carriage house in Southampton, Long Island, built a studio on the property, and spent the rest of the 1970s in relative seclusion.<ref name="The Art Behind The Dots">[[Deborah Solomon]] (March 8, 1987), [https://www.nytimes.com/1987/03/08/magazine/the-art-behind-the-dots.html The Art Behind The Dots] ''[[New York Times]]''.</ref> In the 1970s and 1980s, his style began to loosen and he expanded on what he had done before. Lichtenstein began a series of ''Mirrors'' paintings in 1969. By 1970, while continuing on the ''Mirrors'' series, he started work on the subject of [[entablature]]s. The ''Entablatures'' consisted of a first series of paintings from 1971 to 1972, followed by a second series in 1974–76, and the publication of a series of relief prints in 1976.<ref name="paulacoopergallery1">[http://www.paulacoopergallery.com/exhibitions/507 Roy Lichtenstein: Entablatures, September 17 – November 12, 2011] Paula Cooper Gallery, New York.</ref> Lichtenstein produced a series of "Artists Studios" which incorporated elements of his previous work. A notable example being ''Artist's Studio, Look Mickey'' (1973, [[Walker Art Center]], [[Minneapolis]]) which incorporates five other previous works, fitted into the scene.<ref name="rlf-chronology" />

During a trip to Los Angeles in 1978, Lichtenstein was fascinated by lawyer Robert Rifkind's collection of [[German Expressionism|German Expressionist]] prints and illustrated books. He began to produce works that borrowed stylistic elements found in Expressionist paintings. ''The White Tree'' (1980) evokes lyric [[Der Blaue Reiter]] landscapes, while ''Dr. Waldmann'' (1980) recalls [[Otto Dix]]'s ''Dr. Mayer-Hermann'' (1926). Small colored-pencil drawings were used as templates for woodcuts, a medium favored by [[Emil Nolde]] and [[Max Pechstein]], as well as Dix and [[Ernst Ludwig Kirchner]].<ref>[http://www.gagosian.com/exhibitions/roy-lichtenstein--july-01-2013-2 Lichtenstein: Expressionism, July 1 – October 12, 2013] [[Gagosian Gallery]], Paris.</ref> Also in the late 1970s, Lichtenstein's style was replaced with more [[Surrealism|surreal]] works such as ''Pow Wow'' (1979, Ludwig Forum für Internationale Kunst, [[Aachen]]). A major series of Surrealist-Pop paintings from 1979 to 1981 is based on Native American themes.<ref>{{cite web |url=http://sam.nmartmuseum.org/view/objects/aslist/People$00403520/0/primaryMakerAlpha-asc?t:state:flow=b225784f-c3a2-448b-a7c7-140f52efdaf6 |title=New Mexico Museum of Art |publisher=Sam.nmartmuseum.org |access-date=July 9, 2013 |url-status=dead |archive-url=https://web.archive.org/web/20140325115300/http://sam.nmartmuseum.org/view/objects/aslist/People$00403520/0/primaryMakerAlpha-asc?t:state:flow=b225784f-c3a2-448b-a7c7-140f52efdaf6 |archive-date=March 25, 2014}}</ref><ref>[http://www.tacomaartmuseum.org/page.aspx?hid=374 Roy Lichtenstein: American Indian Encounters, May 13 – September 4, 2006] {{webarchive |url=https://web.archive.org/web/20111226165855/http://tacomaartmuseum.org/page.aspx?hid=374 |date=December 26, 2011 }} [[Tacoma Art Museum]], Tacoma.</ref> These works range from ''Amerind Figure'' (1981), a stylized life-size sculpture reminiscent of a streamlined [[totem pole]] in black-patinated bronze, to the monumental wool tapestry ''Amerind Landscape'' (1979). The "Indian" works took their themes, like the other parts of the Surrealist series, from contemporary art and other sources, including books on American Indian design from Lichtenstein's small library.<ref>Grace Glueck (December 23, 2005) [https://www.nytimes.com/2005/12/23/arts/design/23lich.html A Pop Artist's Fascination With the First Americans] ''[[New York Times]]''.</ref>

Lichtenstein's ''Still Life'' paintings, sculptures and drawings, which span from 1972 through the early 1980s, cover a variety of motifs and themes, including the most traditional such as fruit, flowers, and vases.<ref>[http://www.gagosian.com/exhibitions/may-08-2010--roy-lichtenstein Roy Lichtenstein: Still Lifes, May 8 – July 30, 2010] [[Gagosian Gallery]], New York.</ref> In 1983 Lichtenstein made two [[Internal resistance to apartheid|anti-apartheid]] posters, simply titled "Against Apartheid".<ref>{{Cite web|url=http://www.imageduplicator.com/main.php?decade=80&year=83&work_id=3700|title = Against Apartheid - Image-Duplicator}}</ref><ref>{{Cite web|url=http://www.imageduplicator.com/main.php?decade=80&year=83&work_id=3821|title = Against Apartheid Poster - Image-Duplicator}}</ref> In his ''Reflection'' series, produced between 1988 and 1990, Lichtenstein reused his own motifs from previous works.<ref>[http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5074077 Roy Lichtenstein, ''Reflections on the Prom'' (1990)] [[Christie's]] Post War And Contemporary Art Evening Sale, New York, May 13, 2008.</ref> ''Interiors'' (1991–1992) is a series of works depicting banal domestic environments inspired by furniture ads the artist found in telephone books or on billboards.<ref>[http://www.tate.org.uk/art/artworks/lichtenstein-interior-with-waterlilies-t07339 Roy Lichtenstein, ''Interior with Waterlilies'' (1991)] [[Tate Modern]].</ref> Having garnered inspiration from the monochromatic prints of [[Edgar Degas]] featured in a 1994 exhibition at the [[Metropolitan Museum of Art]] in New York, the motifs of his ''Landscapes in the Chinese Style'' series are formed with simulated Ben-Day dots and block contours, rendered in hard, vivid color, with all traces of the hand removed.<ref>[http://www.gagosian.com/exhibitions/roy-lichtenstein--november-12-2011 Roy Lichtenstein: Landscapes in the Chinese Style, November 12 – December 22, 2011] [[Gagosian Gallery]], Hong Kong.</ref> The nude is a recurring element in Lichtenstein's work of the 1990s, such as in ''Collage for Nude with Red Shirt'' (1995).

In addition to paintings and sculptures, Lichtenstein also made over 300 prints, mostly in [[screenprinting]].<ref>{{harvnb|Corlett|2002}}</ref>