Redcoats (Fold-Out), 1970
Rivers was an accomplished Jazz musician, a painter, sculptor, poet, actor, television personality, filmmaker, an MC at nightclubs, a popular personality on the lecture circuit, author and teacher. He’s been aptly referred to as 'a renaissance man', but perhaps he’s most often recognized and ironically at times equally underappreciated as one of, if not the key, founding fathers of Pop Art.
Andy Warhol never made it a secret that he was influenced by Rivers art, but in perhaps a more revealing quote from the book 'Popism', Warhol recognizes Rivers unique persona as an influential ingredient in the development of Pop Art. Warhol said, “Larry’s painting style was unique – it wasn’t Abstract Expressionism and it wasn’t Pop, it fell into the period in between. But his personality was very Pop.”
Centrefold as issued.
From the series of twelve serigraph prints by Post-Abstract Expressionist, Larry Rivers. The Boston Massacre (1970), juxtaposes historical events that occurred two hundred years apart to re-examine the pursuit of civil liberties and personal freedom.
Rivers loads his images with post-modern tension, simultaneously celebrating and undermining the iconic historical imagery that is his subject. Redcoats painted pink, erotically suggestive bayonets, and crossed-out codpieces all draw attention to Rivers’ immersion in 1970s gay camp, in addition to other social concerns of his time, including the civil rights struggle and Vietnam. Rivers looked to the famous engraving, The Bloody Massacre Perpetrated in King Street, March 5, 1770, by silversmith Paul Revere.
Stamped K 7572 verso.
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