Figures with Sunset - Roy Lichtenstein
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A classic Pop Art composition by Roy Lichtenstein, featuring his signature Ben-Day dots, bold outlines, and a fragmented, graphic aesthetic.
Roy Lichtenstein, a central figure in the American Pop Art movement, created this composition in 1978. The work demonstrates his characteristic use of commercial printing techniques, specifically the application of Ben-Day dots to create tone and texture within a flat, graphic field. By adopting the visual language of comic books and mass-media advertising, Lichtenstein removes the traditional painterly gesture, opting instead for clean lines and primary colours.
The image presents a fragmented narrative. A male figure in a hat and tie appears on the right, while abstract shapes and geometric forms dominate the left and centre. The inclusion of a stylised sun, wood-grain patterns, and mechanical-looking structures suggests a synthesis of disparate visual sources. Lichtenstein often appropriated imagery from various art historical periods, including Surrealism and Cubism, and filtered them through his own distinct aesthetic. Here, the juxtaposition of representational elements with stark, non-representational shapes creates a sense of spatial ambiguity.
This print captures the precision of Lichtenstein's technique. The bold black outlines define each area of colour, preventing the forms from merging and maintaining a clear, legible surface. The use of Ben-Day dots in the shaded areas provides a mechanical contrast to the solid blocks of yellow, blue, and red. This approach reflects the artist's interest in the nature of perception and the way images are constructed for public consumption. The composition avoids traditional perspective, favouring a flattened, decorative arrangement that draws attention to the surface of the canvas itself. It is a clear example of the artist's ability to transform everyday visual cues into a structured, formal arrangement.
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Envío
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
Para mantener su obra de arte en las mejores condiciones:
- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Figures with Sunset - 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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