Kitchen Range - Roy Lichtenstein
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A 1962 Pop Art painting by Roy Lichtenstein, depicting a kitchen stove in a bold, graphic style inspired by commercial advertisements.
Roy Lichtenstein produced Kitchen Range in 1962, a period when he focused on the aesthetic of mass-produced consumer goods. The work depicts a domestic appliance, specifically a stove, with its oven door open to reveal various food items. Lichtenstein employs a simplified, graphic style that mimics the visual language of newspaper advertisements and mail-order catalogues from the mid-twentieth century.
The composition relies on bold outlines and a restricted palette, which removes the subjective touch of the artist. By isolating a mundane object from its typical environment, Lichtenstein invites the viewer to consider the artifice of commercial imagery. The flat application of colour and the absence of traditional shading techniques are characteristic of his approach to painting during this decade. He often utilised Magna, an acrylic resin paint, to achieve the smooth, uniform surfaces seen in this piece.
This work belongs to a broader series of paintings that examine the intersection of fine art and consumer culture. By elevating a common kitchen appliance to the status of a gallery subject, Lichtenstein questions the boundaries between high art and everyday life. The stark contrast between the yellow background and the black lines creates a graphic quality that remains visually arresting. The image functions as a critique of the post-war obsession with domestic convenience and the polished, idealised representations found in contemporary media. Through this lens, the stove becomes a symbol of the era's material aspirations.
Política de devoluciones
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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
Kitchen Range - 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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