Standing Rib - Roy Lichtenstein
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Description
A 1962 Pop Art study by Roy Lichtenstein, featuring a graphic, stylised depiction of a standing rib cut in bold red and black.
Roy Lichtenstein produced Standing Rib in 1962, a period during which he turned his attention toward the mundane objects of American consumer culture. By isolating a single cut of meat, Lichtenstein removes the subject from its domestic context, presenting it instead as a graphic icon. The work employs the visual language of commercial printing, utilising bold black outlines and a simplified colour palette to mimic the aesthetic of mass-produced advertisements.
The composition is stark and direct. The red flesh of the meat is rendered in flat, unmodulated colour, while the fat and bone are suggested through simplified, schematic lines. Lichtenstein avoids the painterly gestures of Abstract Expressionism, opting for a detached, mechanical appearance. This approach forces the viewer to confront the object as a signifier of consumption rather than a traditional still life study. The heavy black contours define the form against a neutral background, creating a graphic clarity that is characteristic of his early Pop Art period.
Lichtenstein often drew inspiration from grocery store flyers and newspaper advertisements. By elevating a humble food item to the status of fine art, he questions the boundaries between high culture and everyday life. The work does not seek to capture the texture or reality of the subject, but rather its representation in the visual vernacular of the 1960s. The result is a clinical, almost humorous examination of the American diet, stripped of its utility and presented as a purely visual phenomenon. This print captures the essence of that period, offering a clear example of how Lichtenstein transformed common imagery into a distinct artistic statement through his disciplined, graphic technique.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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
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- 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
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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
Standing Rib - 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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