Roy Lichtenstein

Dr. Martin Greifinger, New York
Thence by descent to the previous owner
Skot Foreman Replica Handbags , New York

Paul Bianchini, Roy Lichtenstein, Drawings and Prints, London 1971, p. 174, no. 67-6

Colours: The colours are fairly accurate in the catalogue illustration. Condition: This work is in very good condition and is securely hinged to the backing board in the top two corners. There is very light undulation to the paper and there are a few very light handling creases to the top two and bottom right corners. There are some very small spots of light discolouration in places along the white border edges, only visible upon close inspection. There is a further spot of discolouration to the bottom left hand corner. There is a faint black media accretion to the bottom left hand corner. The tiny white speck of media towards the bottom right and top left corner appear to be original to the work's execution.
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"Lichtenstein's drawings of 1961-1969 form a cogent documentation of his style.... They are not intended as preparation for the paintings but as a fresh investigation of the material. His drawings, therefore, form a homogenous entity with his paintings in that they are conceived with an uncommon singleness of purpose."

Diane Waldman, Roy Lichtenstein Drawings and Prints, London 1971, p. 16

 

Roy Lichtenstein's drawings occupy a position of seminal importance in the development of 1960s American Pop Art, for it was here that his forays into new subject matter and techniques first occurred. Beginning with small drawings and rapidly worked sketches, he explored and developed various new compositions, ideas and formats on paper that he would later project onto canvas and work into paintings. The present work is a study for one of his most important Modern paintings entitled Modern Painting Triptych (fig. 1). Like the painting, its bold linear design, minimal aesthetic and pared-down primary colour scheme achieve a 1930s Modernist aesthetic with a minimum of formal means.

 

Begun in 1967 at the height of his creative powers, the Modern series reveals Lichtenstein at his most confident and creative. As in the 'Comic' and 'Brushstroke' paintings previously, it saw him emphasizing the clichéd aesthetic of style within mass produced art images - specifically the way in the sense of size, position, brightness and texture are lost through printed reproductions. The individual aspects of Modernism are here reduced to anonymous, flat shapes that take on a purely symbolic role.