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James Rosenquist Works

James Rosenquist The Persistence of Electrons in Space, 1987 etching and aquatint on woven paper 40h x 36 1/2w in Seraphin Gallery, Philadelphia

James Rosenquist Derriere I'Etoile, 1977 Lithograph in colors 36 1/2h x 74w in
James Rosenquist - Color lithograph on glossy white wove paper, 1988. 640x1025 mm; 25x40 inches, full margins. Signed, dated and numbered 24/250 in pencil, lower margin.

James Rosenquist - Color offset lithograph on white wove paper, 1993. 680x490 mm; 26 3/4x19 1/4 inches, full margins. One of 20 numbered artist's proofs, aside from the edition of 100. Signed, titled, dated and inscribed "AP 19/20" in pencil, lower margin. Published by Tyler Graphics, Ltd., Mount Kisco, with the blind stamp lower left.

Leading Pop artist James Rosenquist—who came to prominence among New York School figures like Roy Lichtenstein, Jasper Johns, Robert Rauschenberg, and Willem de Kooning—is well known for his large-scale, fragmented works that bring the visual language of commercial painting onto canvas (notably, from 1957-60, Rosenquist earned his living as a billboard painter). In his use of mass-produced goods and vernacular culture rendered in an anonymous style, Rosenquist's work recalls that of Andy Warhol, while his seemingly irrational, mysterious pictorial combinations owe a debt to Surrealism. His breakthrough work, the iconic F-111 (1965)—51 panels that total over 22 by 24 feet—juxtaposes an American fighter plane with a Firestone tire, garish orange tinned spaghetti, and a young girl under a hair dryer.

James Rosenquist

1933 - 2017

Seraphin Gallery, Philadelphia, PA


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