Tel Aviv Mural - Roy Lichtenstein
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Beschreibung
A reproduction of Roy Lichtenstein's 1989 mural, featuring his characteristic Ben-Day dots, bold outlines, and a geometric, primary-colour palette.
The Tel Aviv Mural, created by Roy Lichtenstein in 1989, represents a significant moment in the artist's later career. Originally commissioned for the Tel Aviv Museum of Art, this large-scale work synthesises various elements of Lichtenstein's visual vocabulary. The composition incorporates his signature Ben-Day dots, bold black outlines, and a primary colour palette, which he combined with more complex, geometric abstractions.
Lichtenstein often engaged with the history of art, and this piece is no exception. It reflects his interest in the structural logic of Cubism and the precision of mechanical reproduction. The mural is divided into distinct sections, creating a fragmented visual experience that forces the viewer to navigate between representational hints and pure geometric form. The interplay of diagonal lines and flat planes of colour creates a sense of tension, typical of his work from this period. Unlike his earlier comic-strip inspired paintings, this mural demonstrates a move toward a more self-referential style, where the act of painting itself becomes the subject.
The work functions as a dialogue between the flat surface of the canvas and the illusion of depth. By using industrial-looking techniques, Lichtenstein maintained a distance from the emotional subjectivity often associated with abstract expressionism. The mural remains a clear example of his ability to manipulate commercial printing aesthetics to serve fine art purposes. Its scale and composition demand attention, yet the work retains a cool, detached quality. The use of yellow, red, blue, and black provides a sense of order, while the overlapping shapes suggest a chaotic, urban energy. This print captures the graphic clarity and technical rigour of the original mural, offering a precise reproduction of Lichtenstein's late-period aesthetic.
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Fertigung
Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Tel Aviv Mural - Roy Lichtenstein
Artist Biography
Roy Lichtenstein
He was not young when this happened. He was thirty-eight, teaching art at Rutgers University, and had spent the previous decade painting Abstract Expressionist canvases that looked like everyone else's. The comic paintings were a deliberate rejection of the idea that art had to show the artist's inner emotional state. They showed Donald Duck instead.
Leo Castelli gave him his first show in 1962. Every painting sold before the exhibition opened. The speed was unusual. Warhol was doing similar things with soup cans and Coca-Cola bottles, but Lichtenstein's method was different: he hand-painted everything to look mechanically reproduced. The Ben-Day dots were applied through a stencil. The lines were drawn with a projector and then painted by hand. The process was laborious and precise, which was the joke: meticulous craftsmanship in the service of something that was supposed to look cheap.
He moved beyond comics into landscapes, brushstrokes (paintings of brushstrokes), Chinese landscapes, interiors, and nudes, all in the same flat, graphic style. The Brushstroke series, where he painted enormous images of painterly brushstrokes in the same deadpan comic-book technique, annoyed Abstract Expressionists specifically and delighted everyone else.
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