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Shapero Modern
La Nouvelle Chute de l'Amérique
La Nouvelle Chute de l'Amérique
Roy Lichtenstein
In 1972 Ginsberg published his work The Fall of America: Poems of These States 1965-1971.
20 years later In the early 1990s, the publisher Jean-Claude Meyer brought Allen Ginsberg and Roy Lichtenstein together. Ginsberg made a selection of poems from his collection for Lichtenstein to illustrate.
This work was Lichtenstein’s only foray in to the world of illustrated books.
Image Credit:
Roy Lichtenstein, Illustration for ‘De Nouveau au-dessus de Denver’, from La Nouvelle Chute de l'Amérique
Pop Art looks out into the world. It doesn't look like a painting of something, it looks like the thing itself.
Roy Lichtenstein
Illustration for ‘Amérique’, from La Nouvelle Chute de l'Amérique
Roy Lichtenstein
1992
48 x 35.4cm, 18 15/16 x 13 15/16 in.
Etching with aquatint, On 250-gram Velin d’Arches paper
Initialed and numbered from the edition of 80
Printed by Atelier Dupont-Visat, L’Inediteur, Paris, published by Les Editions du Solstice, Paris, Corlett 267
Roy Lichtenstein
Illustration for ‘Auto Poésie: en Cavale de Bloomington’, from La Nouvelle Chute de l'Amérique
1992
48 x 35.4cm, 18 15/16 x 13 15/16 in.
Etching with aquatint, On 250-gram Velin d’Arches paper
Initialed and numbered from the edition of 80
Printed by Atelier Dupont-Visat, L’Inediteur, Paris, published by Les Editions du Solstice, Paris, Corlett 268
Kenneth Tyler printmaking collection
Illustration for ‘Bayonne en Entrant dans NYC’, from La Nouvelle Chute de l'Amérique
Roy Lichtenstein
1992
35.4 x 48cm, 13 15/16 x 18 15/16in.
Etching with aquatint, On 250-gram Velin d’Arches paper
Initialed and numbered from the edition of 80
Printed by Atelier Dupont-Visat, L’Inediteur, Paris, published by Les Editions du Solstice, Paris, Corlett 269
Roy Lichtenstein
Illustration for ‘Or Automnal: Arrière-Saison en Nouvelle Angleterre’, from La Nouvelle Chute de l'Amérique
1992
35.4 x 48cm, 13 15/16 x 18 15/16in.
Etching with aquatint, On 250-gram Velin d’Arches paper
Initialed and numbered from the edition of 80
Printed by Atelier Dupont-Visat, L’Inediteur, Paris, published by Les Editions du Solstice, Paris, Corlett 270
Kenneth Tyler printmaking collection
Illustration for ‘Une Fenêtre ouverte sur Chicago’, from La Nouvelle Chute de l'Amérique
Roy Lichtenstein
1992
48 x 35.4cm, 18 15/16 x 13 15/16 in.
Etching with aquatint, On 250-gram Velin d’Arches paper
Initialed and numbered from the edition of 80
Printed by Atelier Dupont-Visat, L’Inediteur, Paris, published by Les Editions du Solstice, Paris, Corlett 271
Roy Lichtenstein
Illustration for ‘De Nouveau au-dessus de Denver’, from La Nouvelle Chute de l'Amérique
1992
Etching with aquatint, On 250-gram Velin d’Arches paper
Initialed and numbered from the edition of 80
Printed by Atelier Dupont-Visat, L’Inediteur, Paris, published by Les Editions du Solstice, Paris, Corlett 272
Kenneth Tyler printmaking collection
Illustration for ‘Passage du Nord-Ouest’, from La Nouvelle Chute de l'Amérique
Roy Lichtenstein
1992
48 x 35.4cm, 18 15/16 x 13 15/16 in.
Etching with aquatint, On 250-gram Velin d’Arches paper
Initialed and numbered from the edition of 80
Printed by Atelier Dupont-Visat, L’Inediteur, Paris, published by Les Editions du Solstice, Paris, Corlett 273
48 x 35.4cm, 18 15/16 x 13 15/16 in.
Roy Lichtenstein
Illustration for ‘Hüm-Bum!’, from La Nouvelle Chute de l'Amérique
1992
48 x 35.4cm, 18 15/16 x 13 15/16 in.
On 250-gram Velin d’Arches paper, initialed and numbered from the edition of 80
Corlett 274
Printed by Atelier Dupont-Visat, L’Inediteur, Paris, published by Les Editions du Solstice, Paris, Corlett 274
Roy Lichtenstein (October 27, 1923 – September 29, 1997) was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in-cheek manner. His work was influenced by popular advertising and the comic book style. He described pop art as ""not 'American' painting but actually industrial painting"". His paintings were exhibited at the Leo Castelli Gallery in New York City.
