Woman: Sunlight, Moonlight - Roy Lichtenstein
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Descripción
A sculptural work by Roy Lichtenstein featuring two stylised female heads in profile, rendered in porcelain enamel on steel with signature Ben-Day dots.
Woman: Sunlight, Moonlight is a sculptural work by Roy Lichtenstein, created in 1996. It consists of two separate, double-sided porcelain enamel on steel panels, each mounted on a base. The work depicts a stylised female head in profile, referencing the artist's long-standing interest in comic book aesthetics and commercial printing techniques.
Lichtenstein employs his signature Ben-Day dots to create shading and texture across the faces of the figures. The bold, black outlines define the forms, separating the subjects from the background and giving them a graphic, two-dimensional quality despite their physical presence as objects. The colour palette is restricted to primary tones, with one figure featuring yellow hair and the other dark blue, representing the duality of sunlight and moonlight.
This piece demonstrates the artist's interest in transforming mass-produced imagery into fine art. By using industrial materials like porcelain enamel on steel, Lichtenstein removes the evidence of the artist's hand, mirroring the mechanical nature of the source material he frequently appropriated. The figures are shown with their heads tilted back, eyes closed, and lips parted, a pose that appears frequently in his depictions of women from the 1960s onwards. The work functions as a three-dimensional extension of his graphic style, bridging the gap between painting and sculpture. It remains a clear example of his late-career output, where he continued to refine his visual vocabulary while experimenting with different mediums and formats. The work is held in several major museum collections, reflecting its status within the Pop Art movement.
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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
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- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
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- 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
Woman: Sunlight, Moonlight - 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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