Teaser…
Before Roy Lichtenstein Went Pop
The early works of the artist show that his playful irony was present from the start.
By Louis Menand
July 21, 2021
“Self-Portrait at an Easel,” by Roy Lichtenstein, circa 1951–52.Art work © Estate of Roy Lichtenstein
One of the many good reasons to see the exhibition of Roy Lichtenstein’s pre-Pop-art work, “Roy Lichtenstein: History in the Making, 1948–1960”—which originated at the Colby College Museum of Art in the spring and comes to the Parrish Art Museum, in Water Mill, New York, on August 1st—is that it reminds us of something we tend to lose sight of when we get caught up in the critical business of trying to situate Pop in an art-history genealogy, or to unpack it as social critique, which is that Pop art is funny. It makes you smile. There are not a lot of art movements you could say that about.
An unusual thing about American Pop art is that (unlike British Pop art, for example) the major figures—Lichtenstein, James Rosenquist, Andy Warhol—had no personal relationship with one another, and they developed their Pop-art styles independently. Another is that they all burst onto the scene…