Mirror #3 (Six Panels) - Roy Lichtenstein
Giclée de archivo
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Pago seguro
Hecho bajo pedido
Descripción
A seminal work from Roy Lichtenstein's 1971 Mirror series, featuring his signature Ben-Day dots and graphic lines to deconstruct the concept of reflection.
Roy Lichtenstein produced his Mirror series during the early 1970s, shifting his focus from the comic book imagery that defined his earlier career toward a more abstract investigation of perception. In this work, the artist examines the visual representation of reflective surfaces. Rather than depicting a mirror as a functional object, he deconstructs the way light and shadow interact with glass.
The composition is divided into six vertical panels, each employing the artist's signature Ben-Day dots and diagonal hatching to simulate the appearance of light hitting a surface. By using these mechanical printing techniques, Lichtenstein removes the hand of the artist, creating a flat, graphic quality that questions the nature of reality versus representation. The inclusion of yellow accents and deep blue tones provides a stark contrast against the white space, suggesting the frame or the edge of a reflective plane.
This series demonstrates a transition in Lichtenstein's practice, where he began to analyse the conventions of art history and the mechanics of vision itself. The work does not aim to capture a realistic reflection, but instead provides a schematic interpretation of how we perceive depth and light. The repetition of the panels creates a rhythmic, almost architectural quality, forcing the viewer to consider the image as a series of formal elements rather than a traditional portrait or scene. Through this systematic approach, the artist invites a closer look at the graphic language of mass production and its application to fine art. The result is a clean, precise study that remains relevant for its clarity and its rejection of painterly gesture in favour of calculated, industrial aesthetics.
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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.
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Características específicas
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- 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
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- 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
Mirror #3 (Six Panels) - 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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