Auction & Acquisition
This work has commanded big sales and we can expect even higher prices in the future. Happy Tears surpassed Kiss II in 2002. The latter sold for $6.0 million in 1990. Happy Tears work was acquired at the Leo Castelli Gallery, New York in 1964 and didn’t change hands until it was sold again in 2002 at the auction at Christie’s in New York for $7,159,500.
If you judge the artwork by its selling price, you will notice that it’s a very popular artwork. It was, at one point, the highest valued painting of all time. Happy Tears was snatched by Lichtenstein’s other work, In The Car. The artwork was sold in 2005 for $16.2 million. Ohhh…Alright.. (1964) created yet another record, selling for $42.6 million in November 2010. This was all topped when billionaire Steve Cohen purchased Masterpiece (1962) in June 2017 for $165 million.
Frequently Asked Questions
Who Created the Drowning Girl Painting?
The pop artist, Roy Lichtenstein, painted Drowning Girl (1963). The medium utilized is oil and acrylic paint on canvas and it measures 171.6 by 169.5 centimeters.
Where Is the Drowning Girl Painting Located?
Roy Lichtenstein’s Drowning Girl (1963) is at the Museum of Modern Art (MoMA) in New York City, the United States. It was acquired in 1971 through the Philip Johnson Fund by exchange and a gift of Mr. and Mrs. Bagley Wright.
What Inspired the Drowning Girl by Roy Lichtenstein?
The Drowning Girl (1963) painting by pop artist Roy Lichtenstein was inspired and modeled after the original image of a drowning girl from the comic strip by DC Comics, titled Run For Love!, which was in the series titled Secret Hearts (1962) from Issue 83. The original comic was illustrated by Tony Abruzzo and the text was lettered by Ira Schapp.
Framing a Cultural Icon
The symbolism and meaning of Drowning Girl by Roy Lichtenstein have been widely debated by many. Seemingly drowning in a sea of interpretations and theories that all range on a spectrum, from “sexuality”, and “satire”, to archetypes like heroines, and romantic love, the painting has nonetheless stood its ground in conveying an emotional moment, which was reportedly what Roy Lichtenstein enjoyed from scenes found in comics and cartoons.
In 1989, Lichtenstein created a giant two-panel mural, especially for the Tel Aviv Museum of Art; Grand Parc – Bordeaux, France from France, CC BY-SA 2.0, via Wikimedia Commons
Later Works, Awards and Collections
Later in his career, Lichtenstein stopped using comic book sources and extended his source material to art history, including the work of Claude Monet, Henri Matisse, Pablo Picasso, Fernand Léger and Salvador Dalí. In the 1980s and ’90s, he also painted representations of modern house interiors, brushstrokes and mirror reflections, all in his trademark, cartoon-like style. Still Life paintings, sculptures, and drawings, produced from 1972 to the early 1980s, cover a wide range of motifs and themes, including the most traditional such as fruit, flowers, and vases. In his Reflection series, made between 1988 and 1990, the artist reused his own motifs from earlier pieces. The nude is a recurring element in his art of the 1990s, like in Collage for Nude with Red Shirt (1995).
Roy Lichtenstein received many awards including National Medal of the Arts, Washington D.C. (1995); Creative Arts Award in Painting, Brandeis University, Waltham, Massachusetts (1991); American Academy in Rome, Rome, Italy. Artist in residence (1989); and Skowhegan Medal for Painting, Skowehegan School, Skowehegan, Maine (1977), as well as many Honorary Doctorates in Fine Art like The George Washington University, Washington D.C; California Institute of Fine Arts, Valencia, California; Ohio State University, Columbus, Ohio. His work was acquired by major collections around the world including the National Gallery of Art in Washington, D.C., The Art Institute of Chicago, and the Museum Ludwig in Cologne.
Roy in his studio with Reflections on the Prom, 1990, photo by Laurie Lambrecht
Artist Abstract: Who Was Roy Lichtenstein?
Roy Fox Lichtenstein was born, and died, in New York City. His birthday was on October 27, 1923, and he died of pneumonia on September 29, 1997. He was interested in artistic pursuits from a young age, from his enjoyment of Jazz music to painting. He studied art in summer classes at the Art Student League of New York under Reginald Marsh and attended the Ohio State University and studied art, including botany and other disciplines.
Roy Lichtenstein in front of one of his paintings at an exhibition at the Stedelijk Museum (1967); Eric Koch, CC0, via Wikimedia Commons
During his art career, he also taught at a number of universities. His art style also included Abstract Expressionism, but he later adopted the Pop Art style and became well-known for how reproduced artworks and often received criticism for these.
Drowning Girl (1963) by Roy Lichtenstein in Context
| Artist | Roy Lichtenstein (1923 – 1997) |
| Date Painted | 1963 |
| Medium | Oil and acrylic paint on canvas |
| Genre | Genre painting |
| Period/Movement | Pop Art |
| Dimensions (meters) | 171.6 x 169.5 |
| Series/Versions | N/A |
| Where Is It Housed? | Museum of Modern Art (MoMA), New York City, United States |
| What It Is Worth | The price is uncertain. The acquisition was in 1971 through the Philip Johnson Fund by exchange and a gift of Mr. and Mrs. Bagley Wright. |
Drowning Girl by Roy Lichtenstein is just one of many of the famous pop artist’s reproductions from popular culture, notably from a comic book strip, which you will read more about in the contextual analysis below. A formal analysis will also discuss the subject matter of the Drowning Girl painting and how it is visually composed.
Contextual Analysis: A Brief Socio-Historical Overview
The Drowning Girl by Roy Lichtenstein was inspired by DC Comics’ story Run For Love!, which was featured in Issue 83 in the Secret Hearts (1962) series, which was originally lettered by Ira Schapp and illustrated by Tony Abruzzo.
Roy Lichtenstein’s image was specifically taken from the splash page of Run For Love!, which provided more context about what the girl in the water was doing, whereas Lichtenstein depicted a single frame of only the girl, often described in terms of “cropping”, and he excluded the man and landscape behind her, creating more drama by placing all the focus on the girl.
The caption in the original comic is also different, the girl exclaims, somewhat dramatically, “I DON’T CARE IF I HAVE A CRAMP! – I’D RATHER SINK – THAN CALL MAL FOR HELP!”. In Lichtenstein’s caption, he changed the caption to, “I DON’T CARE! I’D RATHER SINK – THAN CALL BRAD FOR HELP!” and utilized “Brad” instead of “Mal”. This left the scene open to mystery and interpretation.
Kiss V (1964) by Roy Lichtenstein; Myosotis alpestre, CC BY-SA 4.0, via Wikimedia Commons
Drowning Girl by Roy Lichtenstein was reportedly exhibited in 1963 at the Leo Castelli Gallery in New York and it received a variety of feedback, from criticisms to compliments. The artist’s own style has also been a topic of debate, some have thought he appropriated and reproduced, or copied, cultural imagery and that his art was not art, while others have commended him for his artistic techniques.
He has been widely quoted, explaining his artistic process, that he draws a small image from various sources like photographs, cartoons, and others that he would size to fit into his projector. He would then project his image onto his canvas and pencil that in. With this, he also mentioned that “I don’t draw a picture in order to reproduce it – I do it in order to recompose it”.
О, Джефф… Я тоже тебя люблю… (1964)
Лихтенштейн использовал сильные, четкие линии и яркие цвета как отражение популярного искусства комиксов того времени. В этой конкретной картине он создает эмоции на лице конфликтующей женщины всего несколькими легкими линиями и тем самым придает сцене напряжение, не перегружая ее.
Крупный план лица женщины и то, как она так драматично держит телефон, является прямой пародией на многие известные в то время романтические комедии-комиксы, в которых главная героиня сталкивается с временным препятствием в отношениях, которое, как обычно, читатель знал, в конечном итоге будет решен.
Famous Pop Art Piece
Many art historians cite M-Maybe (A Girl’s Picture) as a primo Pop Art example. That’s because it’s familiar, memorable, and fits the genre so well. Pop Art dawned in the mid 1950s. But it’s always feels fresh and bright. This movement added a new wrinkle to the art world. Pop Art works as a reflection. It doesn’t raise awareness about the subject of a painting or even the artist. Rather, it’s about us – society. Pop takes on popular culture. It holds a mirror up to the mainstream and, when the artist adds brilliance, makes a masterpiece. In Lichtenstein we find an exemplar of this.
This painting works well as a Pop Art icon because it’s equal parts funny and pointed. Viewers are much more willing to see ourselves in a piece if it’s fun. M-Maybe (A Girl’s Picture) feels like a soap opera, comic book, and masterpiece all in one. More than one slice of pop culture – it’s a whole pie. There’s high drama in romantic relationships exemplified by daytime soaps. We see this in our bombshell’s gloved hand gesture and tilted head. Her idealized facial features show a fleeting sense of emotion. Just as in a daytime drama on network TV, we know how she feels based more on words.
But they aren’t her words. They sit in a bubble above – not because she actually thinks them. No. These thoughts were assigned to her by the artist. He chose them with care to make himself the absent hero of the piece. It’s the touch that elevates this into a masterwork. Comics have special qualities. Heroes are one such facet. Newsprint dots also set them apart. Word bubbles are another characteristic. They convey character thoughts and speech. Lichtenstein also uses primary colors. Comics often do this too. It keeps the visual experience simple and the focus on storytelling.
Lichtenstein’s tight use of space spotlights another unique comic quality. Comics tell complex stories within a short series of small boxes. Limitations like this can be a gift for artists. They’re forced to create new pathways for expression. That’s why filmmakers often get storyboarding ideas from comics. After all, comic artists are masters of fitting narratives into small frames. We can see this highlighted in M-Maybe (A Girl’s Picture). Lichtenstein’s framing of the woman with exterior windows and buildings. With this peak into the outside world, he reminds us that she’s not alone. This woman represents the mainstream world’s idea of a lonely woman, though. That’s the irony of the painting.Pop Art swims in irony. It’s representational and reflective. Most important, it reminds us what we care about. Whether we say it’s our guilty pleasure or flat out admit we love it, popular culture’s tons of fun. Pop Art points this out. Not with judgement or mockery – but with insight. There are reasons we love it. Soap Operas delve human relationships with extreme and gripping storylines. Comics weave intricate stories into concise visual maps. That’s why Lichtenstein’s M-Maybe feels so familiar and fun. So, viewers are happy to look a little deeper. That’s where we see the insightful reflection and pop representations that make this work a masterpiece.
The Influence of Lichtenstein
By hand-painting the usually machine-generated dots, and recreating comic book scenes, Roy Lichtenstein changed the way we look at our world but didn’t use that to cultivate his celebrity. Instead, he continued to explore and work on projects that he found appealing until his last days. He died of pneumonia on September 29, 1997, at New York University Medical Center, where he had been hospitalized for several weeks. With his unique combination of a technical invention, humor, irony, and recognizable imagery, Lichtenstein moved the line between mass reproduction and high art. He fused popular and mass culture elements from television, advertisements, films, and cartoons, with the techniques of fine art while injecting humor, irony, and recognizable imagery and content into the final product. Lichtenstein’s use of populist iconography expanded the definition of art, while his signature Ben-day dots, stripes, and palette of primary colors made an enormous contribution to contemporary art. Almost two decades after his death his influence on the outcome of art has been amazing and overwhelming.
Featured image: portrait of the artist
All images copyright of the Estate of Roy Lichtenstein New York
Безнадежный (1963)
На безнадежной картине изображена уязвимая молодая женщина со слезами на глазах, которая выглядит напряженной. Женщина заполняет большую часть холста. Однако Рой внес некоторые изменения в оригинальную картину, применив яркие и яркие цвета вместе с волнистыми и жирными линиями, которые усиливают эмоции в сцене картины.
Картина «Безнадежность» общается со зрителем, и таким образом Лихтенштейн смог донести свое послание до зрителей картины. Хотя картины были взяты из комического источника, художник хотел изобразить стресс, который переживают женщины, особенно в связи с романтическими проблемами.
Sculptural Work
Lichtenstein began experimenting with three-dimensional works in the mid-1960s. Some of his first sculptures were For Head of Girl (1964), and Head with Red Shadow (1965). He created many public works during his lifetime including Brushstrokes in Flight, a 25-foot tall sculpture for display at the Port Columbus International Airport in Columbus, Ohio; Tokyo Brushstroke I and II, Shinjuku I-Land Co, Ltd. Tokyo, Japan; Barcelona Head, Spain Ajuntament de Barcelona, Barcelona, Spain; and Mermaid, commissioned by Art in Public Places Committee, Inc., at the Miami Beach Theater for the Performing Arts, Miami, FL.
Roy Lichtenstein — Brushstroke Group, 1996 (Fabricated 2005), University of Massachusetts, Boston MA
Exhibitions by Roy Lichtenstein
Roy Lichtenstein’s work has been included in numerous individual and collective shows in galleries and museums throughout the world. Most recently, in collaboration with the Roy Lichtenstein foundation Gagosian Gallery in New York presented the recreation or Lichtenstein’s seminal public work entitled Greene Street Mural. Accompanied by Lichtenstein’s paintings and sculptures, the show was on view in September 2015. Some of his solo exhibitions was held at Galleria Civica d’Arte Moderna e Contemporanea, Turin, Italy; Centre Pompidou, Paris, France; Tate Modern London, England; Whitney Museum of American Art; The Albertina, Vienna, Austria; The Morgan Library and Museum, New York City; Mitchell-Innes & Nash Gallery, Chelsea, New York City; Museo Triennale, Milan, Italy; Santa Fe Museum of Fine Arts Santa Fe, New Mexico; MAM (Museu de Arte Moderna), Rio de Janeiro, Brazil; Museum of Contemporary Art, Palma de Mallorca, Spain; and Louisiana Museum of Modern Art, Humlebaek, Denmark, to name a few. His work was included in group shows at Museum of Modern Art, NY; Contemporary Arts Museum, Houston, Texas; Museum Voor Schone Kunsten, Ghent, Belgium; Worcester Art Museum, Worcester, Massachusetts; Galerie Ileana Sonnabend, Paris, France; Galerie Buren, Stockholm, Sweden; Nationalgalerie, Berlin, Germany, among others.
Colors & Dots & 3D
The artist has used the same type of color of paint for both parts of the painting. It makes it very clear to notice that an artist paints this girl, and she doesn’t resemble a real character.
Most of his works have both three dimensions and two dimensions feel to them. This artwork is not an exception. This is facilitated by the fact that he uses Ben-Day dots, a pattern of repeated dots that help make the woman’s skin. It makes you notice that the woman is unreal. The dots make it easy for this to show. It adds a sense of depth and verve to Lichtenstein’s depiction of her.
Analysis
Lichtenstein made the 96.5 cm × 96.5 cm (38 in × 38 in) artwork to show that there’s a way you can express your emotions with art. You must have noticed that the woman is laughing and crying at the same time. It tells us that she’s crying with joy.
Lichtenstein exposed the real meaning of pop art. He wanted the people to know that this is an art form that focuses entirely on popular culture. It does this by way of focusing on pictures of celebrities or otherwise familiar images. This, done with fun and colorful techniques, actively challenges the boundary between the highbrow and lowbrow in art.
Happy Tears in its simple meaning shows that the girl is happy and the tears must be from a positive sensation. She must be a celeb that has achieved what she had long watched for. Lichtenstein always focused on happy endings in most of his artworks. Most of them don’t reveal a sorrowful encounter or a horrific encounter.
The artwork was to express the skills that Lichtenstein believed should have influenced other artists. It’s unclear what makes this artwork very popular and why it is fetching such big money even years after its creation. The smile might be the main influencing factor in the high price and popularity. Most people want to know precisely what is making the girl so happy and what must have happened. You may be wondering too.
What is Pop Art?
The pop-art movement started in the 1950s and is now very common. It became more popular in the 1960s and represented a rebellion against strict ideas about content and form in art. Pop Art also aimed at creating art that had a mass-produced feel. It was designed for the masses.
Happy Tears
Happy Tears was painted by Roy Lichtenstein in 1964 and is a prime example of the artist’s unique painting style. It features his classic combination of bold lines and colors, all of them applied in the form of dots.
The painting features a central female figure. If you look at the figure carefully, you will notice that she is experiencing strong emotions. Her nails match the color of her hair. It shows that there’s a sense of almost mass production with the image.
Тонущая девушка (1963)
Тонущая девушка (1963) — одна из самых известных картин американского Поп художник Рой Лихтенштейн. Он был основан на обложке комикса 1962 года. Беги за любовью от DC Comics. Лихтенштейн существенно изменил оригинальную иллюстрацию, на которой на переднем плане изображена тонущая девушка, а на заднем плане — ее парень, цепляющийся за перевернутую лодку. Повествовательный текст на иллюстрации представляет собой мелодраматическую историю любви: девушка тонет из-за судороги в ноге, но она настолько убита горем, что решает утопиться вместо того, чтобы позвать на помощь своего парня.
Слёзы счастья (1964)
«Счастливые слезы», как и многие другие произведения искусства Лихтенштейна, представляют собой центральную женскую фигуру, испытывающую сильные эмоции. Здесь создается ощущение реальности почти массового производства, поскольку волосы женщины соответствуют цвету ее ногтей. Таким образом, зрители осознают, что Лихтенштейн использовала один и тот же цвет краски для обеих частей этой картины, и поэтому мы не можем избежать признания того, что она была создана художником и не является реальным человеком.
Как и большинство работ Лихтенштейна, «Счастливые слезы» обладают одновременно трехмерным и двухмерным ощущением благодаря узору из повторяющихся точек, которые помогают создать кожу женщины. Это, в свою очередь, добавляет нереальности женщине и в то же время добавляет ощущение глубины и воодушевления к ее изображению Лихтенштейном.
M-Maybe (A Girl’s Picture) – FAQs
Where can I see Roy Lichtenstein’s M-Maybe (A Girl’s Picture) in person?
Museum Ludwig in Cologne, Germany maintains a spectacular Pop Art exhibit. This includes M-Maybe (A Girl’s Picture) along with Andy Warhols that’ll blow your boots off. Their whole museum makes fine art fun. Museum Ludwig’s online experience includes 360° panoramic tours and intriguing insights. Russian Avant-Garde at the Museum Ludwig: Original and Fake – Questions, Research, Explanations is a keen example.
How did Roy Lichtenstein create his work? What techniques did he use?
In most cases it’s unwise to attempt mindreading an artist’s intentions. But we know for certain that Lichtenstein wanted his work to appear machine-made. He portrayed mass culture. These paintings demand a cookie cutter look. That’s why Lichtenstein often used stencils. How else could he achieve the feeling of a commercial print? Thanks to this, they have sharp edges and clean features. It’s no wonder that Lichtenstein’s work lives on with woodcut prints. These offer a more affordable way to own his work outright.
How much are Roy Lichtenstein paintings worth?
Roy Lichtenstein’s paintings increase in value. This has been especially true in the 2000’s. In 2005 the most anyone had paid for a Lichtenstein was $16.2 million. Yes, that’s a ton – no question. But his paintings are going for three times that these days. For instance, in 2010 and 2011, two Lichtenstein paintings sold for $42 and $43 million.
What is M-Maybe by Roy Lichtenstein worth?
It’s highly unlikely this painting will ever go up for auction. So, it’s monetary value remains moot. However, its financial history’s quite unique. That’s because this Pop Art masterpiece was purchased only once. M-Maybe (A Girl’s Picture) also never left its first owner – Peter Ludwig.
Lichtenstein held his first solo show in 1962 at The Leo Castelli Gallery. Three years later he showed M-Maybe at the same venue. German collector, Peter Ludwig, asked Castelli, who owned the gallery, how much the painting cost. At the time Lichtenstein’s sold for around six thousand dollars. The gallery owner quoted Ludwig twice that at twelve thousand. Somehow, in the end, Peter Ludwig paid Lichtenstein thirty thousand dollars for this masterpiece. That’s the magic of art world sales at work.
Ух ты! (1963)
Композиция работы взята из панно, нарисованного Ирвом Новиком, которое появилось в выпуске № 89 журнала. Всеамериканские военные люди, опубликованная издательством DC Comics в феврале 1962 года. Из оригинальной панели Лихтенштейн сделал предварительные рисунки, один из которых находится в коллекции Тейта (Рисунок для «Whaam!» 1963, Тейт T01131). На этом рисунке он изложил свою первую визуализацию картины, в том числе обозначил разделение исходной единой панели на две части, ограничив основную плоскость одной, а взрыв — другой. Цветовые аннотации на рисунке отличаются от окончательных цветов, использованных в картине, что свидетельствует о том, как Лихтенштейн вносил незначительные изменения во время создания произведения, в частности, использование желтого цвета вместо белого для букв «ВААМ!». Чтобы создать окончательную картину, Лихтенштейн спроецировал предварительное исследование на два предварительно загрунтованных холста и обвел проекцию карандашом, прежде чем нанести точки Бен-Дея. Для этого использовалась самодельная алюминиевая сетка и проталкивалась масляная краска через отверстия небольшой чистящей щеткой. Поверх этого он нарисовал толстые контуры фигур и областей сплошным цветом акриловой краской Magna.
Formal Analysis: A Brief Compositional Overview
Although Roy Lichtenstein reproduced images from pop culture, he nonetheless created these according to his own methods and styles. The formal analysis below will discuss this further, starting with a visual description of Lichtenstein’s choice of subject matter in the Drowning Girl painting, and then how the art elements and art principles arrange and compose the art piece creating a dynamic and outstanding visual display.
Subject Matter: Visual Description
Drowning Girl by Roy Lichtenstein depicts the image of a woman’s head, just off-center to the right of the composition, her hand, possibly her left, and the top part of her right shoulder, are sticking out of water. The lower left portion of the composition consists of only water. There is no other indication of another human in the water with the girl.
The rest of the girl’s body is submerged in the water, and her facial features suggest she is struggling and trying to stay afloat as the water splashes around her. Both her eyes are closed and there are small white pools of tears in her eyes and making their way down towards her cheeks.
She has dark blue hair that appears to be just above her shoulder in length. Her lips are red, and her mouth is slightly open revealing the upper row of her teeth. A splash of water is visible over the top of her head. In the upper left edge of the composition are three small dots forming a white dialogue bubble with words written in it that convey what the girl is saying. The words are written all in capital letters and say, “I DON’T CARE! I’D RATHER SINK – THAN CALL BRAD FOR HELP!”.
Color
The Drowning Girl painting consists of four colors, namely the primary colors, blues and reds, and the neutral black and white. The colors are simplistic and reminiscent of how images like this would be widely produced and printed. Color contrasts are created by the areas of darker blue, for example, the girl’s hair, and areas of lighter blue around her to indicate the water.
Texture
There are smooth brushstrokes in the Drowning Girl painting, but also Lichtenstein’s famous utilization of Ben-Day dots, which resembled the real Ben-Day dots printing process. Examples of these include the water and the girl’s lips.
There is also implied texture of the water’s splashes and waves, and the girl’s hair, which are all created by curved, rounded, and flowing lines that are suggestive of the motion of water and the softness of hair. Additionally, there is a gloss-like texture on the left part of the girl’s lower lip, a slight shine, which suggests a light source that reflects on what could be her lipstick.
Line
The types of lines that dominate and delineate the subject matter in Drowning Girl by Roy Lichtenstein are curved, curled, and looped with diagonal lines. Furthermore, the lines appear as thick black outlines, which create emphasis.
Shape and Form
The type of shapes that occur in Drowning Girl by Roy Lichtenstein are organic, also known as naturalistic because they occur in nature and are free-flowing and irregular. While shapes relate mostly to two dimensions, form relates to three dimensions. There is minimal depth or three-dimensionality in this composition, which would often be conveyed through other art elements like color or size, however, this composition appears flat.
Staff setting up a Roy Lichtenstein exhibition at the Stedelijk Museum in 1967; Ron Kroon for Anefo, CC0, via Wikimedia Commons
Space
The compositional space of Drowning Girl by Roy Lichtenstein is filled with impactful and dynamic lines composing the water, which surrounds the girl, making her the central focus of the painting. Additionally, she appears almost zoomed in, which brings her seemingly into our, the viewers’, space even more without any indication of other objects that might suggest a sense of distance or size.
Academic Background
Roy Fox Lichtenstein was born in 1927 in Manhattan, one of the five boroughs of New York City. He was part of an upper-class Jewish family, his father, Milton Lichtenstein was a real estate broker, and his mother, Beatrice Lichtenstein, was a homemaker, as well as a gifted piano player. The artist was raised on the Upper West Side, owing to his affluent background. He attended Reginald Marsh’s painting class at the Art Students League in 1941, where he learned to paint directly from the model but was ultimately dissatisfied with the classes’ insistence on technique above process. Encouraged by his parents he enrolled at Ohio State University to study art. During World War II he was drafted into the army, serving for three years before returning to school in 1946. Three years later he earned an MFA and continued to teach and to paint in Ohio for several years.
Early Works
In the early 1940’s, before employing the Pop Art style we remember him for most, Lichtenstein experimented in expressionistic and abstract painting. Influenced by Reginald Marsh, the artist explored the mythology, American History, and folklore, paying homage to the old masters. His early 1950s works, painted in a European Modernist style, often show originally “American” subject matters such as scenes of western expansion. In the late 1940s, Lichtenstein participated in shows at galleries throughout the USA including Chinese Gallery and Ten-Thirty Gallery. His first solo show was held at Carlebach Gallery in Manhattan in 1951. In 1957, he moved back to upstate New York where he began teaching at the State University of New York at Oswego in 1958. Lichtenstein adopted a series of different artistic languages, first approximating Picasso’s style of the 1940s, in 1956 turning to a more ornamental idiom and then to Rococo motifs, and finally turning to abstraction in 1958 in a late variation of Action painting. Though his early works were not successful, Lichtenstein decided to provoke the art world a little and started to incorporate hidden images of popular comic figures such as Mickey Mouse and Donald Duck into his abstract works.