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Roy Lichtenstein

Gagosian | Beverly Hills

Roy Lichtenstein was a bit inconsistent when he moved beyond the obvious quotation strategy that inspired him during the ’60s. Some of the artist’s attempts to overlay his dots, stripes, flat colors, and hard outlines onto other subjects gained real punch from the stylistic grafting, as in his brushstroke and mirror paintings and a number of his interior scenes. Other bids were less successful, such as his efforts with slews of textbook pieces and references to modernist painting from Cézanne to Dalí. The better of his late works came when the artist seemed less concerned with using his style as a kind of roving signature and instead looked to see how he could use his motifs as the foundation for smart paintings built from scratch. Excellent examples appear in Lichtenstein’s mostly late-’80s series of “Perfect” and “Imperfect” paintings and related studies, which received their first

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