In an interview in late life Roy pondered the irony of painting commodities and then becoming a commodity himself. Christies® sells commodities to cure the ennui of the lowest cast of humanity (billionaires). Giraffes are too stupid to realize this, and then they get mauled and eaten by hyenas.
I hope the hyenas come for the billionaires soon. I really do. And Christies can supply them with stupid canvases to wipe the grease off their muzzles.
The quote in the title came directly from my next door neighbor Helen who knew the Lichtensteins in the late 1950’s. Her husband, Ernie, was a physical education teacher and the soccer coach admitted the same semester and year as Roy—Fall, 1957.
For me this was a big oil adventure in a small studio space. Most days I wore a breathing mask, and on others I just sniffed Turpenoid® until I dreamed I was dozing in a hammock on Maui.
I built the frame, stretched the canvas, composed and painted the piece in 11 hours with a total cost of about 60 dollars, or .0923% of the families’ annual income. I could make 50 paintings this size a year at a cost of $3000 which translates to 4.61% of our total annual income. Actually, $3,000 has been my allotment for the last 10 years. I produce over 150 paintings a year, few ever reaching floor to ceiling proportions (like the one above), and all are done in acrylic which dries fast and stacks more efficiently than oil.
I have never made a financial profit from this endeavor. But I am beginning to see our investment give back exponentially.
In the fall of 1957 Roy Lichtenstein arrived in Oswego to live and teach. By the end of the year he had “completed” just 16 artworks. One 10″ woodcut for a magazine, four day sketches on paper, three mosaic tabletops, and 8 paintings. Gallant Scene II was his largest oil on canvas at 66 inches. For the year 1957, Roy was a painter like I am a Rochester commuter, a city in upstate NY that I visit about 8 times a year.
Lichtenstein graduated with an MFA from Ohio State University in 1949. His oeuvre from then to his arrival in Oswego consists mostly of U.S. history themes with an emphasis on painted stories of the wild west. (The Lichtenstein Foundation has a completed works timeline. Worth a visit.)
Actually, I love many of these paintings, even if several are based off the work of other artists (a pattern he will take up again for Pop). In future interviews Roy will say that he was working with a cubist style, mirroring Picasso, one of his favorite painters. When I look at this early to mid-1950’s work, I don’t see Picasso. I see how Roy Lichtenstein wanted to be known at the time. I also see great painting, and contrary to what one biographer insinuated, that the compositions were “meh” and the technique “meh-meh”, I feel many are far superior to his early 60’s Pop productions. Original, free, enthusiastic… the opposite of Pop.
In 1957 Roy was not a prolific painter. He was a husband and father of two little boys in a world much less freer than the one I live in today. His equally or more ambitious wife, Isabel, would never become the stable breadwinner of the family. The pressures of a suburban society were not going to allow Roy to paint all day using 4.61% of the family income. His society was so much more severe. In 1957 Oswego (or Cleveland), one did not strike up a conversation at the supermarket check out and declare that he paints, not for a living, (not even for joy), and that the wife takes care of all that money nonsense.
Pressures were on Isabel too. See? She wore red stockings to long skirt events.
In 1958, Roy was 35 years old, married, with two children, and settling into his new job as assistant professor of art with emphasis on industrial design at the State Teacher’s College in Oswego, N.Y. How he got a job as an “expert” in industrial design, after earning an MA in fine art with emphasis on painting, is an example of a modern economy not running on full potential. For instance, women were denied vacant career tracts that men could apply into—even unqualified men like Roy.
Oswego might have been desperate to fill the position. And Roy was a painter, which is affiliated with art, and design can be arty too, so… Close enough! Hired to do a job he had little interest in. His wife Isabel was building a clientele in Cleveland as an interior designer, but now the couple had two children. Even big city Cleveland was not going to allow Roy to paint all day while Isabel brought home the bacon. Who would stay back to watch the kids? Roy, a stay-at-home Dad in the mid-1950s? He would have better luck applying for cosmonaut trainer in Kremlin Heights. The neighbors would stare him to madness with their icy eyes.
When I was 35 in Oswego, I too was married with children. We lived in a more fair economy where women were allowed careers (as long as their husbands had one too). However, unlike Roy, I persisted in my art which was home teaching my daughters, and working day after day as a house husband, and full time, sometimes part-time, as a line cook in a local steak and seafood restaurant.
Beside frequent painting, I had wrote, edited, and published four creative books by my 35th year. I scratch prepared and cooked 14 meals a week for the family, washed, dried, and folded all the laundry, changed 3/4 of our infant daughter’s diapers, and home taught my 12 year old daughter three days a week. We also had a dog, whom I walked twice a day. And house repair and refurbishment was never-ending. I mean never ending.
I cannot get a job at the state college next door, and I have applied at different times to be a janitor, dining hall cook, and even an assistant gallery director. All to no avail. Like Roy, I probably didn’t want the job(s) anyway. I wanted an income as a painter. However, both Leo Castelli (Roy’s initial and lifelong benefactor) and the 20th century are dead. Therefore, pipe, meet dream, and persist as you always have Ron, even while no one was looking.
In autumn 1958 Roy walked along the lake dreaming. In 2002, Ron did too. However at our respective moments in time, only one of us was fortunate enough to remain an artist. Lake effect is a meteorological phenomenon when a westerly winter wind dumps an inordinate amount of snow in a very narrow band of storm on an eastern shore of a large body of water.
Below is a photo of Oswego captured by Carl Mydans for Life Magazine in December 1958, when lake effect gave the city 6 feet of snow over the weekend. I am certain the gears of escape were already turning inside Roy’s head.
Painting quickly with oil onto a gessoed, but pilled tablecloth, is a two day lesson in hell’s art class. This painting is a copy of an add placed on Tuesday, October 8, 1957 in the state college newspaper, The Oswegonian. It was a month into Roy’s first semester teaching industrial design. I imagine the Lichtensteins wanted to celebrate in some fashion, and Vona’s Restaurant would cater to their private desire. In fact life must have looked pretty darn good stepping out into a golden autumn evening, a paycheck to be cashed, good conversation, and dreams for the future. Roy and Isabel might have chosen to walk the mile from their rented apartment on West 6th Street, through Montcalm park, (where my wife and I were married), past our first house on 7th Street, and the many residences of the working class seeking sedation at the end of a long work week. It’s a thrilling time to be alive any time. And it’s best among a young, healthy working class on a September Friday night.
Vona’s is still in business. We go there for red wine and Italian when the need arises. They treat you right, whether you’re a doctor or an artist, or anything else you pretend to be.