Roy Lichtenstein, (after) - “Study for Prepardness” - Silkscreen - Achenbach licensed print - 1989 - 1980s
Screenprint after by Roy Liechtenstein (*)
Reproduction of the work "Study for Prepardness", a work made by Roy Lichtenstein in 1968 and which is part of the collection of the Museum Ludwig Köln.
Published by Achenbach Art Edition, Düsseldorf.
Authorized print with copyright and legal serial number.
Large Format.
- Sheet dimensions: 70. 5 x 90 cm
- Year: 1989
- Condition: Excellent (this work has never been framed or exhibited, always kept in a professional art folder, so it is kept in perfect condition) .
- Origin: Private collection.
The work will be carefully handled and packaged in a reinforced cardboard package. The shipment will be certified with a tracking number.
The shipment will also include transport insurance for the final value of the work with full reimbursement in case of loss or damage, at no cost to the buyer.
(*) The painter and sculptor who plundered the comic to turn it into museum material.
Roy Lichtenstein was one of the key figures of North American pop and as such drew inspiration for his work from both popular art: commercial advertisements, magazines, comics. . . ; as from the history of traditional art: Art Deco, cubism, abstract expressionism (in which he was active at the beginning of his career) . . .
Lichtenstein's work is characterized by its irony (it is something that pop artists boasted of, sometimes disguised as snobbery or superficiality. . .) , the use of benday dots (used in graphic arts) and industrial colors, the language of comics ( onomatopoeia, cartoons, narrative) and command of the line.
Lichtenstein started out in fashionable abstract expressionism, but soon joined the rest of the pop guerilla in rebelling against the abstract and using figuration. In addition, the more popular and mechanical a figuration, the better.
Of course, in 1958 there was nothing more popular and mechanical than a comic, so Lichtenstein decided that he was going to create mass-produced commercial images.
Of course. . . what seems to be done by a machine is reproduced by hand.
These images were faithful portraits of consumer society and mass culture, which may or may not be a critique of the contemporary world, an idealization or a satire of Western capitalist society.
This ambiguity between criticism and admiration, between mockery and respect is typical of Pop Art, which cynically plays at masquerade.
A New Yorker by birth, Lichtenstein lived (in) this city, the capital of everything pop represents, and would die there at the age of 73, established as an artist who sold paintings for more than 40 million euros.
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Screenprint after by Roy Liechtenstein (*)
Reproduction of the work "Study for Prepardness", a work made by Roy Lichtenstein in 1968 and which is part of the collection of the Museum Ludwig Köln.
Published by Achenbach Art Edition, Düsseldorf.
Authorized print with copyright and legal serial number.
Large Format.
- Sheet dimensions: 70. 5 x 90 cm
- Year: 1989
- Condition: Excellent (this work has never been framed or exhibited, always kept in a professional art folder, so it is kept in perfect condition) .
- Origin: Private collection.
The work will be carefully handled and packaged in a reinforced cardboard package. The shipment will be certified with a tracking number.
The shipment will also include transport insurance for the final value of the work with full reimbursement in case of loss or damage, at no cost to the buyer.
(*) The painter and sculptor who plundered the comic to turn it into museum material.
Roy Lichtenstein was one of the key figures of North American pop and as such drew inspiration for his work from both popular art: commercial advertisements, magazines, comics. . . ; as from the history of traditional art: Art Deco, cubism, abstract expressionism (in which he was active at the beginning of his career) . . .
Lichtenstein's work is characterized by its irony (it is something that pop artists boasted of, sometimes disguised as snobbery or superficiality. . .) , the use of benday dots (used in graphic arts) and industrial colors, the language of comics ( onomatopoeia, cartoons, narrative) and command of the line.
Lichtenstein started out in fashionable abstract expressionism, but soon joined the rest of the pop guerilla in rebelling against the abstract and using figuration. In addition, the more popular and mechanical a figuration, the better.
Of course, in 1958 there was nothing more popular and mechanical than a comic, so Lichtenstein decided that he was going to create mass-produced commercial images.
Of course. . . what seems to be done by a machine is reproduced by hand.
These images were faithful portraits of consumer society and mass culture, which may or may not be a critique of the contemporary world, an idealization or a satire of Western capitalist society.
This ambiguity between criticism and admiration, between mockery and respect is typical of Pop Art, which cynically plays at masquerade.
A New Yorker by birth, Lichtenstein lived (in) this city, the capital of everything pop represents, and would die there at the age of 73, established as an artist who sold paintings for more than 40 million euros.
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Time, Location
Auction House
