The Red Horseman (Study)

Details

ROY LICHTENSTEIN (1923-1997)
The Red Horseman (Study)
titled and inscribed 'Carlo Carra "The Red Horseman" 1913' (lower right); signed and dated 'R Lichtenstein '74' (on the reverse)
colored pencil, graphite and paper collage on paper
image: 14 3⁄4 x 19 1⁄2 in. (36.8 x 49.5 cm.)
sheet: 20 3⁄8 x 23 1⁄2 in. (51.8 x 59.7 cm.)
Executed in 1974.

Provenance

Paul and Diane Waldman, New York
Gagosian Gallery, New York
Private collection, United States
Acquired from the above by the present owner, 2005

Literature

G. Mercurio, Lichtenstein: Meditations on Art, Milan, 2010, p. 325, no. 71 (illustrated).
T. Loos, "Lichtenstein's Gatekeeper Uses Her Key," New York Times, 28 June 2012 (illustrated).

Exhibited

New York, James Goodman Gallery, Roy Lichtenstein: A Drawing Retrospective, April-May 1984, n.p., no. 29 (illustrated).
New York, Museum of Modern Art, The Drawings of Roy Lichtenstein, March-June 1987, pp. 115 and 188, no. 139 (illustrated).
Rome, Gagosian Gallery, Made in Italy, May-July 2011.
Art Institute of Chicago; Washington, D.C., National Gallery of Art and London, Tate Modern, Roy Lichtenstein: A Retrospective, May 2012-May 2013, n.p., no. 146 (illustrated).

Conditions of sale

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Lot Essay

"Ironies are also thick... in "Red Horseman" (1974), where the source is Carlo Carra and the dazzle of Ben Day dots neatly evokes the sense of movement for which the Futurists strove. Lichtenstein's talent, and it's a considerable one, is to pump fresh blood into such canonical works of modernism, at the same time he gently mocks their exalted status (M. Kimmelman, "On Top With Pop: A Virtuoso of Irony," New York Times, 8 October 1993).

The Red Horseman (Study)

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