Installation video
Installation view
Artwork © Estate of Roy Lichtenstein. Photo: Maris Hutchinson
Installation view
Artwork © Estate of Roy Lichtenstein. Photo: Maris Hutchinson
Installation view
Artwork © Estate of Roy Lichtenstein. Photo: Owen Conway
Installation view
Artwork © Estate of Roy Lichtenstein. Photo: Owen Conway
Installation view
Artwork © Estate of Roy Lichtenstein. Photo: Owen Conway
Installation view
Artwork © Estate of Roy Lichtenstein. Photo: Owen Conway
Installation view
Artwork © Estate of Roy Lichtenstein. Photo: Owen Conway
Installation view
Artwork © Estate of Roy Lichtenstein. Photo: Owen Conway
Installation view
Artwork © Estate of Roy Lichtenstein. Photo: Owen Conway
Installation view
Artwork © Estate of Roy Lichtenstein. Photo: Owen Conway
Installation view
Artwork © Estate of Roy Lichtenstein. Photo: Owen Conway
Roy Lichtenstein
Forest Scene with Temple, 1986
Acrylic, oil, and graphite pencil on canvas, 120 × 180 ¼ inches (304.8 × 457.8 cm)
© Estate of Roy Lichtenstein. Photo: Maris Hutchinson
Roy Lichtenstein working on Forest Scene with Temple (1986) in his Southampton studio,
New York, c. 1986
Artwork © Estate of Roy Lichtenstein. Photo: © Bob Adelman
Roy Lichtenstein
River Scene, 1987
Acrylic, oil, and graphite pencil on canvas, 78 × 120 inches (198 × 304.8 cm)
© Estate of Roy Lichtenstein
Roy Lichtenstein working on River Scene (1987) in his Southampton studio,
New York, c. 1987
Artwork © Estate of Roy Lichtenstein. Photo: © Bob Adelman
Roy Lichtenstein
Paintings: Mirror, 1984
Acrylic, oil, and graphite pencil on canvas, 70 × 86 inches (177.8 × 218.4 cm)
© Estate of Roy Lichtenstein. Photo: Owen Conway
Roy Lichtenstein in his Washington Street studio,
New York, 1985
Artwork © Estate of Roy Lichtenstein. Photo: © Hans Namuth
Roy Lichtenstein
Brushstroke, 1982
Painted and patinated bronze, 54 ¼ × 27 ½ × 11 inches (137.8 × 69.9 × 27.9 cm), edition of 6 + 0/6 posthumous
© Estate of Roy Lichtenstein. Photo: Owen Conway
Roy Lichtenstein
Woman, 1981
Acrylic and graphite on canvas, 70 × 50 inches (177.8 × 127 cm)
© Estate of Roy Lichtenstein. Photo: Owen Conway
Roy Lichtenstein
Mural with Blue Brushstroke (Study), c. 1984
Colored pencil and graphite pencil on paper, 41 ½ × 29 ¾ inches (105.4 × 75.6 cm)
© Estate of Roy Lichtenstein
Roy Lichtenstein working on a drawing for Mural with Blue Brushstroke (1984–86),
in his 29th Street studio, New York, c. 1985
Artwork © Estate of Roy Lichtenstein. Photo: © Bob Adelman
Roy Lichtenstein
Landscape with Figures and Rainbow (Study), 1980
Colored pencil, graphite pencil, and paper on paper, 22 × 28 ⅜ inches (55.9 × 72.1 cm)
© Estate of Roy Lichtenstein
Roy Lichtenstein working on drawings in his 29th Street studio,
New York, c. 1984
Artwork © Estate of Roy Lichtenstein. Photo: © Bob Adelman
Gagosian is pleased to announce Painting with Scattered Brushstrokes, an exhibition of works by Roy Lichtenstein opening on March 19, 2026. The exhibition assembles a selection of significant paintings, a sculpture, watercolors, and other works on paper exclusively from the Collection of the Lichtenstein Family. Titled after a 1984 canvas by Lichtenstein, Painting with Scattered Brushstrokes highlights the importance of the brushstroke as a formal and symbolic device in the artist’s practice.
In the works from the 1970s and ’80s that are the exhibition’s focus, Lichtenstein returned to one of his iconic motifs with renewed creativity. The artist first approached the brushstroke as subject in 1965, translating it into heavily outlined bands of color that read as illustrations of the painterly mark. Synonymous with the bravura and spontaneity of Abstract Expressionism, but meticulously defined with flat shapes and clear contours, Lichtenstein’s Pop-inflected brushstrokes represent this essential element of painting in ways that further his engagement with issues of style and originality.
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about this exhibition
Avis Berman’s biography of Roy Lichtenstein, Becoming Roy Lichtenstein: The Path to Pop, will be published this fall by Abbeville Press, aligning with a major retrospective at the Whitney Museum of American Art, New York, in October. For the Quarterly she has adapted part of her text to focus on the artist’s formative experiences in New York in the 1920s and ’30s.
Michael Ovitz, cofounder of Creative Artists Agency (CAA), looks back to 1989, the year he and the architect I. M. Pei commissioned Roy Lichtenstein to create the Bauhaus Stairway Mural for the then new CAA Building in Los Angeles. Through the experience of working with Lichtenstein, Ovitz formed a meaningful friendship with the artist.
Alice Godwin and Alison McDonald explore the history of Roy Lichtenstein’s mural of 1989, contextualizing the work among the artist’s other mural projects and reaching back to its inspiration: the Bauhaus Stairway painting of 1932 by the German artist Oskar Schlemmer.
The Summer 2024 issue of Gagosian Quarterly is now available, featuring a detail of Roy Lichtenstein’s Bauhaus Stairway Mural (1989) on the cover.
In celebration of the centenary of Roy Lichtenstein’s birth, Irving Blum and Dorothy Lichtenstein sat down to discuss the artist’s life and legacy, and the exhibition Lichtenstein Remembered curated by Blum at Gagosian, New York.
Gagosian and the Art Students League of New York hosted a conversation on Roy Lichtenstein with Daniel Belasco, executive director of the Al Held Foundation, and Scott Rothkopf, senior deputy director and chief curator of the Whitney Museum of American Art, New York. Organized in celebration of the centenary of the artist’s birth and moderated by Alison McDonald, chief creative officer at Gagosian, the discussion highlights multiple perspectives on Lichtenstein’s decades-long career, during which he helped originate the Pop art movement. The talk coincides with Lichtenstein Remembered, curated by Irving Blum and on view at Gagosian, New York, through October 21.
Actor and art collector Steve Martin reflects on the friendship and professional partnership between Roy Lichtenstein and art dealer Irving Blum.
Jacoba Urist profiles the legendary collector.
Against the backdrop of the 2020 US presidential election, historian Hal Wert takes us through the artistic and political evolution of American campaign posters, from their origin in 1844 to the present. In an interview with Quarterly editor Gillian Jakab, Wert highlights an array of landmark posters and the artists who made them.
Dorothy Lichtenstein sits down with Derek Blasberg to discuss the changes underway at the Lichtenstein Foundation, life in the 1960s, and what brought her to—and kept her in—the Hamptons.
The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
Gillian Pistell examines Roy Lichtenstein’s aesthetic developments in the years 1961 to 1965.
The Winter 2018 issue of Gagosian Quarterly is now available. Our cover this issue comes from High Times, a new body of work by Richard Prince.
A 1964 publication by the Chinese-American artist and poet Walasse Ting and Abstract Expressionist painter Sam Francis.
Diana Widmaier Picasso, curator of the exhibition Desire, reflects on the history of eroticism in art.
Jack Cowart, Executive Director of the Roy Lichtenstein Foundation, and Rob McKeever, a former assistant to Lichtenstein, recall the making of the original Greene Street Mural.
More than thirty years after its creation, Gagosian presents a full-scale painted replica of the original Greene Street Mural by Roy Lichtenstein, based on documentation from the artist’s studio and produced by sign painters under the supervision of his former studio assistant.
