…and no one escapes having to live life under duress
—Van Morrison, from “The Meaning of Loneliness”
The Lichtensteins moved to Oswego in late summer, 1957. Earlier in the year Roy and Isabel bought their first house in Cleveland, Ohio, which, in 1957 terms, meant a rest-of-life scenario along the Lake Erie shoreline. The couple had two little boys, David, born in October, 1954, and Mitchell, celebrating his first year in March, 1957. The several biographies I have read by art historians claim Roy took the job in Oswego to position himself “closer to the New York City art market”. Today it takes about seven hours to drive from Cleveland to New York, and five hours from Oswego. Certainly in the 1950’s both roads made the drive longer, but I would guess the Cleveland to New York latitude was more friendly to motorists while Eisenhower and GM’s monstrous interstate system was still in its planning stages.
Closer to the art market?
Hmm. No jobs available in Lancaster, Allentown, or Wilke-Barre, Pennsylvania? And hour’s drive to Manhattan would seem more practical on every level.
So why leave many years of social acclimation and a purchased house in Cleveland to move a young family to Oswego, NY?
Dr. Aulus Sanders, the Chairman of the Art Department in 1957, who”plucked” Roy out of Cleveland, said that there were many applications for the opening to teach industrial design. He felt he had a special knack at sifting past those who looked good on paper, but would not rise to the occasion. Not Roy. He had prestige, enough talent, Manhattan accolades, but most importantly, Roy was 34 years old with a wife and family. Middle-aged and so ready to settle down, Dr. Aulus might have marked Roy’s application as a sound investment for the college. Perhaps it was Roy’s recently acquired job making furniture at the Republic Steel Company which made him think twice about a full-time painting career, prompting him to send his resume to higher ed institutions throughout the northeast. If he could secure a position teaching, then he could spend a lifetime practicing the art he loved in an atmosphere of encouragement rather than struggle.
Furthermore, he might have been between jobs when he sent his resume to Oswego. In quiet desperation, he could have left Isabel out of this decision, fearing she would be dead set against starting over in a small city far, far away. He would just wait and see if any offers came back, and then break the news to her.
History is chock full of stories that have little base in actual history. Still, using even rudimentary knowledge of the culture and human condition during the mid-20th century, it suffices to suggest that Roy was stubborn, but not crazy stubborn. There wasn’t a middle-aged family man in Cleveland not privately terrified of losing the ability to support a family. Roy’s ambition was very real. A few New York exhibitions under his belt, an unwavering philosophy on art and artist, and a highly naive, perhaps delusional, dream of “making it big”. This was the hope constantly wrestling with financial reality. He was a failure as a reliable breadwinner. That pressure in 1957 superseded any pressures demanded through the practicing of a private art. Roy was in struggle. Life-changing struggle.
So far in my limited reading, I believe the biographers get it wrong. Art historians are wont to fall into the trap of the hindsight “art for art sake” mindset. Roy had a wife and two little boys. Isabel had a husband and two little boys. Ends would have to meet and marriage survival was contingent on money making—at least enough to conform to illusions set in the middle class, Caucasian society of the time period.
No matter what Roy claimed in future VIP interviews, he sure as heck didn’t accept the job in Oswego to “get closer to the New York art market”. The assistant professor’s position paid between $5,570 and $7,250. It was a dream job for any misfit artist, scholar, or mathematician in need of conformity fast. To hold one’s head up high, bringing home the bacon, and partaking in an acceptable and steady occupation, frees the academic on many levels, including the time necessary to practice a joy.
Surely at the time, Roy still dreamed big. 34 wasn’t the end of the world. Being employed as a college professor in Oswego would open more New York gallery doors than furniture maker in Cleveland. Perhaps it might be wiser for future art historians to interpret past allusions to Roy’s ambition incorporating into the narrative more sociology, rather than blind faith in what a millionaire or a millionaire’s friend had to say in a celebrity interview.
Start with this premise: Roy Lichtenstein did not come to Oswego to get closer to the New York art market. He came to Oswego to settle down and get closer to his art.
And to support a family so a social and political world would leave him the hell alone.