- The Stowaway Peers out at the Speed of Light, 2001 James Rosenquist Hand Signed LithographSOLDItem # 4915
- The Stars and Stripes at the Speed of Light, 2nd State James Rosenquist Hand Signed Color LithographSOLDItem # 4914
- Sky Hole, 1989 James Rosenquist Hand Color Pressed Paper PulpSOLDItem # 4913
Why Rosenquist ?
Sell Your Rosenquist
Sell your Rosenquist fine art with us. We offer free evaluations.
Artistic Styles of Rosenquist
American Pop Art
James Rosenquist Complete Biography
News About Rosenquist
SOFA Chicago 2017 Nov 2nd – Nov 5th
Picasso Blue Period Piece “La Grommeuse, 1901” Reveals Hidden Wonder
Pop Artist James Rosenquist Dies at 83
Art New York May 3rd – 7th
Art Market San Francisco
Print Annotations: Artist Proofs- What do they mean?
Matisse’s Paintings: Most Famous Works and Periods from his Life
A Closer Look: Roy Lichtenstein Crying Girl, 1963
Masterworks Fine Art strives to be the best source of fine art for our clients and collectors all over the world. We also want to be an educational resource to the artcommunity. We have educational fine art material for students and researchers, and we will continue to donate fine art to charities. You can see some of our donationsmade by Masterworks Fine Art. We believe the most direct way to accomplish this is byestablishing a lifetime of personal and professional relationships with our clients. More About Us »
James Rosenquist Biography
Born an only child in 1933 in Grand Forks, North Dakota, American painter, printmaker and sculptor James Rosenquist was one of the leaders of the Pop-Art movement. While still in high school in 1948 he won a scholarship to study at the Minneapolis School of Art, and from 1952 to 1955 he studied painting at the University of Minnesota. In 1955 he moved to New York to study at the Art Students League on a scholarship. Earning his living as a billboard painter, it was in 1960 when he began to apply similar techniques of grossly enlarged and fragmented images to huge paintings such as President Elect (1960-61). Influenced by Surrealism, Rosenquist’s early work had a reliance on seemingly irrational juxtapositions. His references however to mass-produced goods and to magazines, films and other aspects of the mass media, coupled with his dispassionate and seemingly anonymous technique, is what gained him fame. They also allowed him to be one of the key figures in the development of Pop Art in the United States. Rosenquist’s treatment of typical Pop subject-matter however had little in common with such artists as Andy Warhol and Roy Lichtenstein. Rather than seeking to duplicate his source material, he preferred to disrupt and dislocate, as is seen in Marilyn Monroe I (1962), in which the film star’s features are presented in a dismembered form as if to imply that her personality had been shattered by the pressures of fame. Rosenquist was also unusual among Pop artists in his overt involvement with political themes in works such as Painting for the American Negro (192-63) and above all in his most famous work, F-111 (1965), which is a huge painting occupying four walls of a room on fifty-one separate but interlocking pieces, as if it had been blown apart by the American fighter plane pictured on its surface and then reassembled. Such interest in technical experimentation led Rosenquist to produce a few sculptures and assemblage. It was his screenprints and particularly lithographs, however that held a creative outsource for him. Currently residing in Florida, he remains committed to the Pop aesthetic of his work from the early 1960’s.