James Rosenquist, Sky Hole, 1989


Signed James Rosenquist mixed, Sky Hole, 1989

Artist:James Rosenquist (1933 - 9999)

Title:Sky Hole, 1989

Reference:Glenn, 217

Medium:33-Color Pressed Paper Pulp wth Lithography Collage Elements Adhered

Sheet Size:102 1/2 in x 58 1/2 in (260.4 cm x 148.6 cm)

Edition:Numbered from the edition of 56.

Signature:This work is hand-signed by James Rosenquist, (North Dakota, 1933 - ) in pencil in the lower right.

Condition:This work is in excellent condition.

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Historical Description of this artwork


In this brilliantly captivating work, Rosenquist creates a fantastic environment of color, iconic imagery, and divergent atmospheres. Dividing the vertical composition are two blooming flowers hued in hot shades of magenta. These glowing blossoms bisect the center of the composition, while silhouettes of Floridian palm fronds provide slivered looks into another dimension. Packed with pictorial elements, Sky Hole,1989 challenges spatial perceptions while indulging the eye with visual interest.

Created in 2004, this color lithograph is hand-signed and dated by James Rosenquist, (North Dakota, 1933 – ) in pencil in the lower right. Numbered from the edition of 56, this work is printed and published by Tyler Graphics, New York.

Catalogue Raisonné & COA:
This work is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work).

  1. Glenn, Constance, Time Dust: James Rosenquist Complete Graphics 1962-1992, Rizzoli, New York: 1993. This work is listed and illustrated as figure no. 217.
  2. A Certificate of Authenticity will accompany this work.

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All catalogue raisonné and historical documentation is included with your purchase.

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Artistic Styles of Rosenquist

American Pop Art

James Rosenquist Complete Biography

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James Rosenquist (1933-9999)

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.

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