In the Car: Difference between revisions

In the Car
In the Car
Artist	Roy Lichtenstein
Year	1963
Movement	Pop art
Dimensions	172 cm × 203.5 cm (67.75 in × 80.125 in)
Location	Scottish National Gallery of Modern Art, Edinburgh

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In the Car (sometimes Driving)^[1] is a 1963 pop art painting by Roy Lichtenstein. The smaller, older of the two versions of this painting formerly held the record for highest auction price for a Lichtenstein painting. The larger version has been in the collection of the Scottish National Gallery of Modern Art in Edinburgh since 1980.^[2]^[3]^[4]

Background

The painting is based on a panel illustrated by Tony Abruzzo^[5] in the comic book series Girls' Romances^[6] #78, dated September 1961 and published by Signal Publishing Corp.^[7] (a romance comic imprint of DC Comics).^[8] The painting was part of Lichtenstein's second solo exhibition at Leo Castelli Gallery from September 28 to October 24, 1963 that included Drowning Girl, Torpedo...Los!, Baseball Manager, Conversation, and Whaam!^[9]^[10] Marketing materials for the show included the lithograph artwork, Crak!^[11]^[12]

The smaller version, which was the original version, from the estate of Roy Lichtenstein and consigned by his son Mitchell Lichtenstein, was sold in 2005.^[4] On November 8, 2005, it surpassed the previous Lichtenstein work record auction price of $7.1 million set when Happy Tears sold three years earlier (November 13, 2002). In the Car sold for $16.2 million at Christie's auction house in New York City.^[13]^[14] In November 2010, this figure was surpassed when Ohhh...Alright... was sold for a record US $42.6 million (£26.7 million), also at Christie's in New York.^[15] The hammer price was $38 million.^[16]

Details

After 1972, Lichtenstein's comics-based women "look hard, crisp, brittle, and uniformly modish in appearance, as if they all came out of the same pot of makeup." This particular example is one of several that is cropped so closely that the hair flows beyond the edges of the canvas.^[17] As with most of his early romance comics, this consisted of "a boy and a girl" subject.^[18] It is described as a tense, melodramatic graphic single-frame depiction of a romantic dialogue between a man and woman.^[4] Lichtenstein used horizontal parallel lines to convey the sense of motion.^[19] A November 1963 Art Magazine review stated that this was one of the "broad and powerful paintings" of the 1963 exhibition at Castelli's Gallery.^[10]

In the early 1960s, Lichtenstein produced several "fantasy drama" paintings of women in love affairs with domineering men causing the women to be miserable, such as Drowning Girl, Hopeless and In the Car. These works served as prelude to 1964 paintings of innocent "girls next door" in a variety of tenuous emotional states.^[20] "In the Car evokes a mood of resignation, with silence apparently prevailing as the woman stares stonily out the window."^[21]^[22]

Notes

^ Pierre, José (1977). An Illustrated Dictionary of Pop Art. Eyre Methuen. p. 89. ISBN 0-413-38370-9.
^ "Lichtenstein Roy: In the Car". The Art Book. Phædon Press. 1994. p. 274. ISBN 0-7148-2984-6.
^ "Roy Lichtenstein > In the Car". Scottish National Gallery of Modern Art. Archived from the original on August 25, 2012. Retrieved May 21, 2012.
^ ^a ^b ^c "Roy Lichtenstein: In the Car: 1963". Christie's. Retrieved May 21, 2012.
^ Barsalou, David (2000). "In the Car". Deconstructing Roy Lichtenstein. Retrieved September 14, 2020.
^ Sherwin, Skye (September 15, 2017). "Roy Lichtenstein's In the Car: a dramatic close encounter". The Guardian. The artist zoomed in on his source material, the comic strip Girls' Romances....
^ "In the Car". Lichtenstein Foundation. Archived from the original on August 12, 2016. Retrieved May 20, 2012.
^ "DC : Signal Publishing Company (Indicia / Colophon Publisher)," Grand Comics Database. Retrieved Sept. 14, 2020: "Used for DC's romance comics."
^ "Chronology". Roy Lichtenstein Foundation. Archived from the original on June 6, 2013. Retrieved June 9, 2013.
^ ^a ^b Judd, Donald. "Reviews 1962–64". In Bader (ed.). Roy Lichtenstein: October Files. pp. 2–4. Whaam!, Torpedo...LOS!, Conversation, In the Car and I Don't Care, I'd Rather Sink, are all broad and powerful paintings. (Castelli, Sept. 28 – Oct. 24.)
^ "Search Result: Crak!". Lichtenstein Foundation. Archived from the original on March 12, 2016. Retrieved June 26, 2013.
^ Lobel, Michael (2009). "Technology Envisioned: Lichtenstein's Monocularity". In Bader, Graham (ed.). Roy Lichtenstein. MIT Press. pp. 118–20. ISBN 978-0-262-01258-4.
^ Melikian, Souren (November 10, 2005). "Record $22.4 million paid for a Rothko". The New York Times. Retrieved May 17, 2012.
^ Kelly, Tara (November 11, 2010). "Lichtenstein Tops Warhol in Auction". Time. Retrieved May 17, 2012.
^ "Roy Lichtenstein painting fetches $42.6m at auction". News. BBC. November 11, 2010. Retrieved November 11, 2010.
^ "In the Saleroom: Roy Lichtenstein's Ohhh...Alright..., 1964". Christie’s. November 11, 2010. Retrieved May 16, 2012.
^ Coplans 1972, p. 23: ‘Very often a head is cropped to such an extent that the hair flows outside the borders of the format...’
^ Coplans 1972, p. 40: ‘The earlier images, particularly The Engagement Ring (1961), The Kiss III, Eddie Diptych, Masterpiece (all 1962), In the Car (1963), and Tenison (1964) consist of two figures, the majority being a boy and a girl connected by romantic dialogue and action.’
^ Foster, Hal. "Pop Pygmalion". In Graham Bader (ed.). Roy Lichtenstein. p. 153. ...for example, parallel lines might signify 'mirror' if they are diagonal, as in Mirror no. 1 (1971), and 'motion,' say if they are horizontal, as in In the Car (1963).
^ Waldman 1993, p. 113: "In other paintings by Lichtenstein, women are engaged in a series of fantasy dramas. Hopeless (fig. 104), Drowning Girl (fig. 106), and In the Car (fig. 103), all from 1963, and We Rose Up Slowly (fig. 108), 1964, revolve around love affairs in which the men are clearly in control and the women are usually depicted as miserable. These paintings set the state for a series of "girls" in various states of apparent anxiety, nervouseness, or fear, most of whom are portrayed as "the girl next door" or the innocent seductress, as in Blonde Waiting (fig. 112), Oh, Jeff...I Love You, Too...But... (fig. 111), Good Morning Darling, and Seductive Girl, all from 1964. The women protagonists in these dramas enact scenes filled with fabricated emotions."
^ Waldman 1993, p. 113 The painting gives off a feeling of chilly emotions between the man and the woman in the car.
^ Kimmelman. "Roy... Lichtenstein... At... The... Met". Lichtenstein Foundation. Archived from the original on June 27, 2013. Retrieved June 10, 2013.

References

Bader, Graham, ed. (2009), Roy Lichtenstein: October Files, The MIT Press, ISBN 978-0-262-01258-4.
Coplans, John, ed. (1972), "Introduction, Biographical Notes, Chronology of Imagery and Art", Roy Lichtenstein, Praeger Publishers.
Waldman, Diane (1993), Roy Lichtenstein, Solomon R. Guggenheim Museum, ISBN 0-89207-108-7.

External links

Lichtenstein Foundation website Archived August 12, 2016, at the Wayback Machine
http://www.christies.com/presscenter/pdf/11092005/11092005c.pdf Christie's auction results]
Christies video presentation
National Galleries Scotland website Archived August 25, 2012, at the Wayback Machine

[1] Pierre, José (1977). An Illustrated Dictionary of Pop Art. Eyre Methuen. p. 89. ISBN 0-413-38370-9.

[2] "Lichtenstein Roy: In the Car". The Art Book. Phædon Press. 1994. p. 274. ISBN 0-7148-2984-6.

[3] "Roy Lichtenstein > In the Car". Scottish National Gallery of Modern Art. Archived from the original on August 25, 2012. Retrieved May 21, 2012.

[RLItC-4] "Roy Lichtenstein: In the Car: 1963". Christie's. Retrieved May 21, 2012.

[5] Barsalou, David (2000). "In the Car". Deconstructing Roy Lichtenstein. Retrieved September 14, 2020.

[6] Sherwin, Skye (September 15, 2017). "Roy Lichtenstein's In the Car: a dramatic close encounter". The Guardian. The artist zoomed in on his source material, the comic strip Girls' Romances....

[7] "In the Car". Lichtenstein Foundation. Archived from the original on August 12, 2016. Retrieved May 20, 2012.

[8] "DC : Signal Publishing Company (Indicia / Colophon Publisher)," Grand Comics Database. Retrieved Sept. 14, 2020: "Used for DC's romance comics."

[9] "Chronology". Roy Lichtenstein Foundation. Archived from the original on June 6, 2013. Retrieved June 9, 2013.

[RLOF4-10] Judd, Donald. "Reviews 1962–64". In Bader (ed.). Roy Lichtenstein: October Files. pp. 2–4. Whaam!, Torpedo...LOS!, Conversation, In the Car and I Don't Care, I'd Rather Sink, are all broad and powerful paintings. (Castelli, Sept. 28 – Oct. 24.)

[11] "Search Result: Crak!". Lichtenstein Foundation. Archived from the original on March 12, 2016. Retrieved June 26, 2013.

[RLGB-12] Lobel, Michael (2009). "Technology Envisioned: Lichtenstein's Monocularity". In Bader, Graham (ed.). Roy Lichtenstein. MIT Press. pp. 118–20. ISBN 978-0-262-01258-4.

[R$pfaR-13] Melikian, Souren (November 10, 2005). "Record $22.4 million paid for a Rothko". The New York Times. Retrieved May 17, 2012.

[LTWiA-14] Kelly, Tara (November 11, 2010). "Lichtenstein Tops Warhol in Auction". Time. Retrieved May 17, 2012.

[15] "Roy Lichtenstein painting fetches $42.6m at auction". News. BBC. November 11, 2010. Retrieved November 11, 2010.

[16] "In the Saleroom: Roy Lichtenstein's Ohhh...Alright..., 1964". Christie’s. November 11, 2010. Retrieved May 16, 2012.

[FOOTNOTECoplans197223-17] Coplans 1972, p. 23: ‘Very often a head is cropped to such an extent that the hair flows outside the borders of the format...’

[FOOTNOTECoplans197240-18] Coplans 1972, p. 40: ‘The earlier images, particularly The Engagement Ring (1961), The Kiss III, Eddie Diptych, Masterpiece (all 1962), In the Car (1963), and Tenison (1964) consist of two figures, the majority being a boy and a girl connected by romantic dialogue and action.’

[19] Foster, Hal. "Pop Pygmalion". In Graham Bader (ed.). Roy Lichtenstein. p. 153. ...for example, parallel lines might signify 'mirror' if they are diagonal, as in Mirror no. 1 (1971), and 'motion,' say if they are horizontal, as in In the Car (1963).

[20] Waldman 1993, p. 113: "In other paintings by Lichtenstein, women are engaged in a series of fantasy dramas. Hopeless (fig. 104), Drowning Girl (fig. 106), and In the Car (fig. 103), all from 1963, and We Rose Up Slowly (fig. 108), 1964, revolve around love affairs in which the men are clearly in control and the women are usually depicted as miserable. These paintings set the state for a series of "girls" in various states of apparent anxiety, nervouseness, or fear, most of whom are portrayed as "the girl next door" or the innocent seductress, as in Blonde Waiting (fig. 112), Oh, Jeff...I Love You, Too...But... (fig. 111), Good Morning Darling, and Seductive Girl, all from 1964. The women protagonists in these dramas enact scenes filled with fabricated emotions."

[21] Waldman 1993, p. 113 The painting gives off a feeling of chilly emotions between the man and the woman in the car.

[22] Kimmelman. "Roy... Lichtenstein... At... The... Met". Lichtenstein Foundation. Archived from the original on June 27, 2013. Retrieved June 10, 2013.

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@@ Line 1: / Line 1: @@
+{{Short description|Painting by Roy Lichtenstein}}
 {{For|the [[Barenaked Ladies]] song|Stunt (album)}}
 {{Use mdy dates|date=August 2016}}
 {{Infobox Painting
 | image_file=In the Car.jpg
+| image_size=350px
-| backcolor=
-| painting_alignment=
-| image_size=250px
 | title=In the Car
 | artist=[[Roy Lichtenstein]]
@@ Line 14: / Line 13: @@
 | height_imperial =67.75
 | width_imperial =80.125
+| museum=[[Scottish National Gallery of Modern Art]]
-| city=
+| city=[[Edinburgh]]
-| museum=[[Scottish National Gallery of Modern Art]] 1 of 2 copies
 }}
-'''''In the Car''''' (sometimes '''''Driving''''')<ref>{{cite book|title=An Illustrated Dictionary of Pop Art| last =Pierre | first = José|page= 89 | isbn=0-413-38370-9|publisher=[[Eyre Methuen LTD |Eyre Methuen]]}}</ref> is a 1963 [[pop art]] painting by [[Roy Lichtenstein]]. The smaller, older of the two versions of this painting formerly held the record for highest auction price for a Lichtenstein painting. The larger version has been in the collection of the [[Scottish National Gallery of Modern Art]] in Edinburgh since 1980.<ref>{{cite book|title=The Art Book|chapter= Lichtenstein Roy: In the Car|year=1994|page=274|isbn=0-7148-2984-6|publisher=[[Phaedon Press Limited | Phædon Press]]}}</ref><ref>{{cite web|url = http://www.nationalgalleries.org/collection/artists-a-z/L/2992/artistName/Roy%20Lichtenstein/recordId/664|title= Roy Lichtenstein > In the Car | accessdate =May 21, 2012|publisher = [[Scottish National Gallery of Modern Art]]}}</ref><ref name=RLItC />
+'''''In the Car''''' (sometimes '''''Driving''''')<ref>{{cite book|title=An Illustrated Dictionary of Pop Art|last=Pierre|first=José|year=1977|page=[https://archive.org/details/popartillustrate00pier/page/89 89]|isbn=0-413-38370-9|publisher=[[Eyre Methuen LTD |Eyre Methuen]]|url-access=registration|url=https://archive.org/details/popartillustrate00pier/page/89}}</ref> is a 1963 [[pop art]] painting by [[Roy Lichtenstein]]. The smaller, older of the two versions of this painting formerly held the record for highest auction price for a Lichtenstein painting. The larger version has been in the collection of the [[Scottish National Gallery of Modern Art]] in Edinburgh since 1980.<ref>{{cite book|title=The Art Book|chapter= Lichtenstein Roy: In the Car|year=1994|page=274|isbn=0-7148-2984-6|publisher=[[Phaedon Press Limited | Phædon Press]]}}</ref><ref>{{cite web|url = http://www.nationalgalleries.org/collection/artists-a-z/L/2992/artistName/Roy%20Lichtenstein/recordId/664|title = Roy Lichtenstein > In the Car|access-date = May 21, 2012|publisher = [[Scottish National Gallery of Modern Art]]|archive-date = August 25, 2012|archive-url = https://web.archive.org/web/20120825104548/http://www.nationalgalleries.org/collection/artists-a-z/L/2992/artistName/Roy%20Lichtenstein/recordId/664|url-status = dead}}</ref><ref name=RLItC />
 ==Background==
 [[File:In the Car source.jpg|thumb|left|The source for ''In the Car'' was ''[[Girls' Romances]]'' number 78 (September 1961).]]
-The painting is based on the September 1961 [[comic book]] series ''[[Girls' Romances]]'' edition #78 published by [[Signal Publishing Corp.]]<ref>{{cite web|url=http://image-duplicator.com/main.php?decade=60&year=63&work_id=130|title=In the Car|accessdate=May 20, 2012|publisher= Lichtenstein Foundation}}</ref> The painting was part of Lichtenstein's second solo exhibition at Leo Castelli Gallery from September 28 to October 24, 1963 that included ''[[Drowning Girl]]'', ''[[Torpedo...Los!]]'', ''[[Baseball Manager]]'', ''[[Conversation (Roy Lichtenstein)|Conversation]]'', and ''[[Whaam!]]''<ref>{{cite web|url=http://www.lichtensteinfoundation.org/lfchron1.htm |title=Chronology |accessdate=June 9, 2013 |publisher=Roy Lichtenstein Foundation |deadurl=yes |archiveurl=https://web.archive.org/web/20130606071341/http://lichtensteinfoundation.org/lfchron1.htm |archivedate=June 6, 2013 |df=mdy-all }}</ref><ref name=RLOF4>{{cite book|editor=Bader|pages=2&ndash;4|chapter=Reviews 1962–64| last =Judd | first = Donald| quote = ''Whaam!'', ''Torpedo...LOS!'', ''Conversation'', ''In the Car'' and ''I Don't Care, I'd Rather Sink'', are all broad and powerful paintings. (Castelli, Sept. 28 – Oct. 24.)}}</ref> Marketing materials for the show included the [[lithograph]] artwork, ''[[Crak!]]''<ref>{{cite web|url = http://image-duplicator.com/search.php?string=Crak&search_year=&search_series=|title=Search Result: Crak!| accessdate= June 26, 2013| publisher = Lichtenstein Foundation}}</ref><ref name=RLGB>{{cite book|title=Roy Lichtenstein|editor-last =Bader | editor-first = Graham|publisher= [[MIT Press]] | date=2009|isbn = 978-0-262-01258-4 |chapter=Technology Envisioned: Lichtenstein's Monocularity| last =Lobel | first = Michael|pages= 118–20}}</ref>
+The painting is based on a panel illustrated by [[Tony Abruzzo]]<ref>{{cite web|last=Barsalou |first=David |url=https://www.flickr.com/photos/deconstructing-roy-lichtenstein/40835940/ |title=In the Car |work=Deconstructing Roy Lichtenstein|date=2000 |access-date=Sep 14, 2020}}</ref> in the [[comic book]] series ''[[Girls' Romances]]''<ref>{{cite news|title=Roy Lichtenstein’s In the Car: a dramatic close encounter|first=Skye |last=Sherwin |date=15 Sep 2017|work=The Guardian|url=https://www.theguardian.com/artanddesign/2017/sep/15/roy-lichtenstein-in-the-car-dramatic-close-encounter|quote=The artist zoomed in on his source material, the comic strip ''Girls' Romances''....}}</ref>  #78, dated September 1961 and published by [[Signal Publishing Corp.]]<ref>{{cite web|url=http://image-duplicator.com/main.php?decade=60&year=63&work_id=130|title=In the Car|access-date=May 20, 2012|publisher=Lichtenstein Foundation|archive-date=August 12, 2016|archive-url=https://web.archive.org/web/20160812154807/http://image-duplicator.com/main.php?decade=60&year=63&work_id=130|url-status=dead}}</ref> (a romance comic imprint of [[DC Comics]]).<ref>[https://www.comics.org/indicia_publisher/59/ "DC : Signal Publishing Company (Indicia / Colophon Publisher),"] Grand Comics Database. Retrieved Sept. 14, 2020: "Used for DC's romance comics."</ref> The painting was part of Lichtenstein's second solo exhibition at Leo Castelli Gallery from September 28 to October 24, 1963 that included ''[[Drowning Girl]]'', ''[[Torpedo...Los!]]'', ''[[Baseball Manager]]'', ''Conversation'', and ''[[Whaam!]]''<ref>{{cite web|url=http://www.lichtensteinfoundation.org/lfchron1.htm |title=Chronology |access-date=June 9, 2013 |publisher=Roy Lichtenstein Foundation |url-status=dead |archive-url=https://web.archive.org/web/20130606071341/http://lichtensteinfoundation.org/lfchron1.htm |archive-date=June 6, 2013 |df=mdy-all }}</ref><ref name="RLOF4">{{cite book|last=Judd|first=Donald|title=Roy Lichtenstein: October Files|editor=Bader|pages=2&ndash;4|chapter=Reviews 1962–64|quote=''Whaam!'', ''Torpedo...LOS!'', ''Conversation'', ''In the Car'' and ''I Don't Care, I'd Rather Sink'', are all broad and powerful paintings. (Castelli, Sept. 28 – Oct. 24.)}}</ref> Marketing materials for the show included the [[lithograph]] artwork, ''[[Crak!]]''<ref>{{cite web|url = http://image-duplicator.com/search.php?string=Crak&search_year=&search_series=|title = Search Result: Crak!|access-date = June 26, 2013|publisher = Lichtenstein Foundation|archive-date = March 12, 2016|archive-url = https://web.archive.org/web/20160312125702/http://image-duplicator.com/search.php?search_series=&search_year=&string=crak|url-status = dead}}</ref><ref name=RLGB>{{cite book|title=Roy Lichtenstein|editor-last =Bader | editor-first = Graham|publisher= [[MIT Press]] | date=2009|isbn = 978-0-262-01258-4 |chapter=Technology Envisioned: Lichtenstein's Monocularity| last =Lobel | first = Michael|pages= 118–20}}</ref>
-The smaller version, which was the original version, from the estate of Roy Lichtenstein and consigned by his son [[Mitchell Lichtenstein]], was sold in 2005.<ref name=RLItC>{{cite web|url=http://www.christies.com/videos/podcasts/Lichtenstein.m4v|title=Roy Lichtenstein: In the Car: 1963| publisher = [[Christie's]]|accessdate=May 21, 2012}}</ref> On November 8, 2005, it surpassed the previous Lichtenstein work record auction price of $7.1&nbsp;million set when ''[[Happy Tears (Roy Lichtenstein)|Happy Tears]]'' sold three years earlier (November 13, 2002). ''In the Car'' sold for $16.2&nbsp;million at [[Christie's]] auction house in New York City.<ref name=R$pfaR>{{cite web|url= https://www.nytimes.com/2005/11/09/arts/09iht-melik10.html |title=Record $22.4 million paid for a Rothko|accessdate=May 17, 2012|date=November 10, 2005|work=[[The New York Times]]| last =Melikian | first = Souren}}</ref><ref name=LTWiA>{{cite web|url=http://newsfeed.time.com/2010/11/11/lichtenstein-tops-warhol-in-auction/|title=Lichtenstein Tops Warhol in Auction|accessdate=May 17, 2012|date=November 11, 2010|work=[[Time (magazine)|Time]]|author=Kelly, Tara}}</ref> In November 2010, this figure was surpassed when ''[[Ohhh...Alright...]]'' was sold for a record US $42.6&nbsp;million (£26.7&nbsp;million), also at Christie's in New York.<ref>{{cite web |url=https://www.bbc.co.uk/news/entertainment-arts-11732551|title=Roy Lichtenstein painting fetches $42.6m at auction|publisher=BBC | work = News | date= November 11, 2010|accessdate=November 11, 2010}}</ref> The hammer price was $38 million.<ref>{{cite web|url= http://www.christies.com/features/roy-lichtenstein-ohhh-alright-1139-3.aspx |title=In the Saleroom: Roy Lichtenstein's Ohhh...Alright..., 1964|accessdate=May 16, 2012|publisher = [[Christie’s]] |date=November 11, 2010}}</ref>
+The smaller version, which was the original version, from the estate of Roy Lichtenstein and consigned by his son [[Mitchell Lichtenstein]], was sold in 2005.<ref name=RLItC>{{cite web|url=http://www.christies.com/videos/podcasts/Lichtenstein.m4v|title=Roy Lichtenstein: In the Car: 1963| publisher = [[Christie's]]|access-date=May 21, 2012}}</ref> On November 8, 2005, it surpassed the previous Lichtenstein work record auction price of $7.1&nbsp;million set when ''[[Happy Tears (Roy Lichtenstein)|Happy Tears]]'' sold three years earlier (November 13, 2002). ''In the Car'' sold for $16.2&nbsp;million at [[Christie's]] auction house in New York City.<ref name=R$pfaR>{{cite web|url= https://www.nytimes.com/2005/11/09/arts/09iht-melik10.html |title=Record $22.4 million paid for a Rothko|access-date=May 17, 2012|date=November 10, 2005|work=[[The New York Times]]| last =Melikian | first = Souren}}</ref><ref name=LTWiA>{{cite magazine|url=https://newsfeed.time.com/2010/11/11/lichtenstein-tops-warhol-in-auction/|title=Lichtenstein Tops Warhol in Auction|access-date=May 17, 2012|date=November 11, 2010|magazine=[[Time (magazine)|Time]]|author=Kelly, Tara}}</ref> In November 2010, this figure was surpassed when ''[[Ohhh...Alright...]]'' was sold for a record US $42.6&nbsp;million (£26.7&nbsp;million), also at Christie's in New York.<ref>{{cite web |url=https://www.bbc.co.uk/news/entertainment-arts-11732551|title=Roy Lichtenstein painting fetches $42.6m at auction|publisher=BBC | work = News | date= November 11, 2010|access-date=November 11, 2010}}</ref> The [[hammer price]] was $38 million.<ref>{{cite web|url= http://www.christies.com/features/roy-lichtenstein-ohhh-alright-1139-3.aspx |title=In the Saleroom: Roy Lichtenstein's Ohhh...Alright..., 1964|access-date=May 16, 2012|publisher = [[Christie’s]] |date=November 11, 2010}}</ref>
 ==Details==
+After 1972, Lichtenstein's comics-based women "look hard, crisp, brittle, and uniformly modish in appearance, as if they all came out of the same pot of makeup." This particular example is one of several that is cropped so closely that the hair flows beyond the edges of the canvas.{{Sfn | Coplans | 1972 | p = 23 | ps =: ‘Very often a head is cropped to such an extent that the hair flows outside the borders of the format...’}}  As with most of his early romance comics, this consisted of "a boy and a girl" subject.{{Sfn | Coplans | 1972 | p = 40| ps =: ‘The earlier images, particularly ''The Engagement Ring'' (1961), ''The Kiss III'', ''Eddie Diptych'', ''Masterpiece'' (all 1962), ''In the Car'' (1963), and ''Tenison'' (1964) consist of two figures, the majority being a boy and a girl connected by romantic dialogue and action.’}}  It is described as a tense, melodramatic graphic single-frame depiction of a romantic dialogue between a man and woman.<ref name=RLItC/> Lichtenstein used horizontal parallel lines to convey the sense of motion.<ref>{{cite book|title=Roy Lichtenstein|editor=Graham Bader|page=153|chapter=Pop Pygmalion| last =Foster | first = Hal|quote=...for example, parallel lines might signify 'mirror' if they are diagonal, as in ''Mirror no. 1'' (1971), and 'motion,' say if they are horizontal, as in ''In the Car'' (1963).}}</ref> A November 1963 ''Art Magazine'' review stated that this was one of the "broad and powerful paintings" of the 1963 exhibition at Castelli's Gallery.<ref name=RLOF4 />
-[[File:Roy Lichtenstein.jpg|thumb|upright|Lichtenstein in 1967]]
-After 1972, Lichtenstein's comics-based women "look hard, crisp, brittle, and uniformly modish in appearance, as if they all came out of the same pot of makeup." This particular example is one of several that is cropped so closely that the hair flows beyond the edges of the canvas.{{Sfn | Coplans | 1971 | p = 23 | ps =: ‘Very often a head is cropped to such an extent that the hair flows outside the borders of the format...’}}  As with most of his early romance comics, this consisted of "a boy and a girl" subject.{{Sfn | Coplans | 1972 | p = 40| ps =: ‘The earlier images, particularly ''The Engagement Ring'' (1961), ''The Kiss III'', ''Eddie Diptych'', ''Masterpiece'' (all 1962), ''In the Car'' (1963), and ''Tenison'' (1964) consist of two figures, the majority being a boy and a girl connected by romantic dialogue and action.’}}  It is described as a tense, melodramatic graphic single-frame depiction of a romantic dialogue between a man and woman.<ref name=RLItC/> Lichtenstein used horizontal parallel lines to convey the sense of motion.<ref>{{cite book|editor=Bader|page=153|chapter=Pop Pygmalion| last =Foster | first = Hal|quote=...for example, parallel lines might signify 'mirror' if they are diagonal, as in ''Mirror no. 1'' (1971), and 'motion,' say if they are horizontal, as in ''In the Car'' (1963).}}</ref> A November 1963 ''Art Magazine'' review stated that this was one of the "broad and powerful paintings" of the 1963 exhibition at Castelli's Gallery.<ref name=RLOF4 />
-In the early 1960s, Lichtenstein produced several "fantasy drama" paintings of women in love affairs with domineering men causing the women to be miserable, such as ''[[Drowning Girl]]'', ''Hopeless'' and ''In the Car''. These works served as prelude to 1964 paintings of innocent "girls next door" in a variety of tenuous emotional states.<ref>{{harvnb | Waldman | 1993 | p = 113 | ps =: "In other paintings by Lichtenstein, women are engaged in a series of fantasy dramas. ''Hopeless'' (fig. 104), ''Drowning Girl'' (fig. 106), and ''In the Car (fig. 103), all from 1963, and ''We Rose Up Slowly (fig. 108), 1964, revolve around love affairs in which the men are clearly in control and the women are usually depicted as miserable. These paintings set the state for a series of "girls" in various states of apparent anxiety, nervouseness, or fear, most of whom are portrayed as "the girl next door" or the innocent seductress, as in ''Blonde Waiting'' (fig. 112), ''Oh, Jeff...I Love You, Too...But...'' (fig. 111), ''Good Morning Darling'', and ''Seductive Girl'', all from 1964. The women protagonists in these dramas enact scenes filled with fabricated emotions."}}</ref>  "''In the Car'' evokes a mood of resignation, with silence apparently prevailing as the woman stares stonily out the window."<ref>{{harvnb | Waldman | 1993 | p = 113}}  The painting gives off a feeling of chilly emotions between the man and the woman in the car.</ref><ref>{{cite web|last=Kimmelman |url=http://www.lichtensteinfoundation.org/kimmelman1.htm |title=Roy... Lichtenstein... At... The... Met |accessdate=June 10, 2013 |publisher=Lichtenstein Foundation |deadurl=yes |archiveurl=https://web.archive.org/web/20130627145324/http://www.lichtensteinfoundation.org/kimmelman1.htm |archivedate=June 27, 2013 |df=mdy-all }}</ref>
+In the early 1960s, Lichtenstein produced several "fantasy drama" paintings of women in love affairs with domineering men causing the women to be miserable, such as ''[[Drowning Girl]]'', ''Hopeless'' and ''In the Car''. These works served as prelude to 1964 paintings of innocent "girls next door" in a variety of tenuous emotional states.<ref>{{harvnb | Waldman | 1993 | p = 113 | ps =: "In other paintings by Lichtenstein, women are engaged in a series of fantasy dramas. ''Hopeless'' (fig. 104), ''Drowning Girl'' (fig. 106), and ''In the Car (fig. 103), all from 1963, and ''We Rose Up Slowly (fig. 108), 1964, revolve around love affairs in which the men are clearly in control and the women are usually depicted as miserable. These paintings set the state for a series of "girls" in various states of apparent anxiety, nervouseness, or fear, most of whom are portrayed as "the girl next door" or the innocent seductress, as in ''Blonde Waiting'' (fig. 112), ''Oh, Jeff...I Love You, Too...But...'' (fig. 111), ''Good Morning Darling'', and ''Seductive Girl'', all from 1964. The women protagonists in these dramas enact scenes filled with fabricated emotions."}}</ref>  "''In the Car'' evokes a mood of resignation, with silence apparently prevailing as the woman stares stonily out the window."<ref>{{harvnb | Waldman | 1993 | p = 113}}  The painting gives off a feeling of chilly emotions between the man and the woman in the car.</ref><ref>{{cite web|last=Kimmelman |url=http://www.lichtensteinfoundation.org/kimmelman1.htm |title=Roy... Lichtenstein... At... The... Met |access-date=June 10, 2013 |publisher=Lichtenstein Foundation |url-status=dead |archive-url=https://web.archive.org/web/20130627145324/http://www.lichtensteinfoundation.org/kimmelman1.htm |archive-date=June 27, 2013 |df=mdy-all }}</ref>
 ==See also==
@@ Line 39: / Line 38: @@
 ==References==
-* {{Citation |title=Roy Lichtenstein: October Files|editor-last =Bader | editor-first = Graham|publisher=[[The MIT Press]]|year=2009|isbn= 978-0-262-01258-4}}.
+*{{Citation |title=Roy Lichtenstein: October Files|editor-last =Bader | editor-first = Graham|publisher=[[The MIT Press]]|year=2009|isbn= 978-0-262-01258-4}}.
-* {{Citation |title=Roy Lichtenstein|publisher=[[Praeger Publishers]]|editor-last =Coplans | editor-first = John| chapter=Introduction, Biographical Notes, Chronology of Imagery and Art|year= 1972}}.
+*{{Citation |title=Roy Lichtenstein|publisher=[[Praeger Publishers]]|editor-last =Coplans | editor-first = John| chapter=Introduction, Biographical Notes, Chronology of Imagery and Art|year= 1972}}.
-* {{Citation |title= Roy Lichtenstein| last =Waldman | first = Diane| year=1993| publisher = [[Solomon R. Guggenheim Museum]]|isbn= 0-89207-108-7}}.
+*{{Citation|title= Roy Lichtenstein|last= Waldman|first= Diane|year= 1993|publisher= [[Solomon R. Guggenheim Museum]]|isbn= 0-89207-108-7|url-access= registration|url= https://archive.org/details/roylich00wald}}.
 ==External links==
-* [http://image-duplicator.com/main.php?decade=60&year=63&work_id=130 Lichtenstein Foundation website]
+*[http://image-duplicator.com/main.php?decade=60&year=63&work_id=130 Lichtenstein Foundation website] {{Webarchive|url=https://web.archive.org/web/20160812154807/http://image-duplicator.com/main.php?decade=60&year=63&work_id=130 |date=August 12, 2016 }}
-* [http://www.christies.com/presscenter/pdf/11092005/11092005c.pdf Christies auction results]
+*http://www.christies.com/presscenter/pdf/11092005/11092005c.pdf Christie's auction results]
-* [http://www.christies.com/videos/podcasts/Lichtenstein.m4v Christies video presentation]
+*[http://www.christies.com/videos/podcasts/Lichtenstein.m4v Christies video presentation]
-* [http://www.nationalgalleries.org/collection/artists-a-z/L/2992/artistName/Roy%20Lichtenstein/recordId/664 National Galleries Scotland website]
+*[http://www.nationalgalleries.org/collection/artists-a-z/L/2992/artistName/Roy%20Lichtenstein/recordId/664 National Galleries Scotland website] {{Webarchive|url=https://web.archive.org/web/20120825104548/http://www.nationalgalleries.org/collection/artists-a-z/L/2992/artistName/Roy%20Lichtenstein/recordId/664 |date=August 25, 2012 }}
 {{Roy Lichtenstein}}
+{{DEFAULTSORT:In the Car}}
 [[Category:1963 paintings]]
 [[Category:Paintings by Roy Lichtenstein]]
+[[Category:Paintings in National Galleries Scotland]]

v t e Roy Lichtenstein
Paintings	Ten Dollar Bill (1956) Electric Cord (1961) Engagement Ring (1961) Girl with Ball (1961) I Can See the Whole Room...and There's Nobody in It! (1961) Look Mickey (1961) Mr. Bellamy (1961) Roto Broil (1961) Blam (1962) Brattata (1962) Golf Ball (1962) Jet Pilot (1962) Kiss II (1962) Masterpiece (1962) Portrait of Madame Cézanne (1962) Takka Takka (1962) Baseball Manager (1963) Bratatat! (1963) Crak! (1963) Crying Girl (1963) Drowning Girl (1963) Hopeless (1963) In the Car (1963) Okay Hot-Shot, Okay! (1963) Torpedo...Los! (1963) Varoom! (1963) Whaam! (1963) Woman with Flowered Hat (1963) As I Opened Fire (1964) Girl in Mirror (1964) Happy Tears (1964) Nurse (1964) I Know...Brad (1964) Oh, Jeff...I Love You, Too...But... (1964) Ohhh...Alright... (1964) Sleeping Girl (1964) We Rose Up Slowly (1964) Brushstrokes (1965) Big Painting No. 6 (1965) Girl with Hair Ribbon (1965) Grrrrrrrrrrr!! (1965) Little Big Painting (1965) M-Maybe (1965) The Melody Haunts My Reverie (1965) Yellow and Green Brushstrokes (1966) Artist's Studio—Look Mickey (1973) Cubist Still Life with Lemons (1975) Bedroom at Arles (1992) Large Interior with Three Reflections (1993) Nude with Yellow Flower (1994) Nudes with Beach Ball (1994)
Sculptures	Mermaid (1979) Expressionist Head (1980) Brushstrokes in Flight (1984) Five Brushstrokes (1984 sculpture) Five Brushstrokes (1984 series) Modern Head (1989) The Head of Barcelona (1992) Tokyo Brushstroke I and II (1994) Brushstroke (1996) Brushstrokes (1996) House I (1996)
Murals	Mural with Blue Brushstroke (1986) Times Square Mural (1994)
Other works	Brushstrokes series (1965–66) BMW Art Car (1977)
Related	Mitchell Lichtenstein (son)