Fine Art Poster
From £37
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Nude on Beach - Roy Lichtenstein
Prezzo originale
£37.00 GBP
Prezzo scontato
£37.00 GBP
Prezzo originale
Stampa giclée d'archivio
Le cornici arrivano pronte per essere appese
Pagamento sicuro
Fatto su ordinazione
Descrizione
A 1995 Pop Art composition by Roy Lichtenstein, featuring a stylised nude figure rendered with signature Ben-Day dots and bold graphic lines.
Roy Lichtenstein produced this work in 1995, during the final years of his career. It belongs to a series of nudes that revisit the classical subject through the lens of his signature comic-book aesthetic. The composition employs the Ben-Day dots that defined his practice, using them here to render the texture and shadow of the human form against a simplified, graphic background.
The figure is abstracted into a fluid, almost amoebic shape, which contrasts with the rigid diagonal lines of the sky and the geometric, cheese-like structure in the background. Lichtenstein uses a primary colour palette of yellow, blue, and red, outlined in thick black strokes. This approach removes the emotional weight often associated with the nude in art history, replacing it with a detached, mechanical precision.
By referencing the visual language of mass-produced media, Lichtenstein questions the nature of representation. The work does not aim for anatomical accuracy. Instead, it presents a stylised interpretation of a beach scene. The inclusion of the yellow block, which resembles a piece of Swiss cheese, introduces an element of absurdity common in his later works. This print captures the flat, high-contrast quality of the original painting, maintaining the clarity of the artist's graphic style. It is a clear example of his method of deconstructing traditional genres into their most basic visual components.
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Poiché ogni stampa è realizzata su ordinazione, non offriamo resi, rimborsi o cambi in caso di ripensamento. Se il tuo ordine dovesse arrivare difettoso, danneggiato o errato, lo sostituiremo gratuitamente: ti basterà contattarci entro 48 ore dalla consegna. Consulta la nostra pagina sui rimborsi per tutti i dettagli.
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Produzione
Ogni stampa è realizzata su ordinazione mediante stampa giclée a 12 colori su carta d'archivio certificata FSC. Ideata in Gran Bretagna e stampata presso il centro di produzione più vicino a te per ridurre gli sprechi e velocizzare la consegna.
Cura e materiali
Caratteristiche specifiche
Ogni opera Solis è realizzata su ordinazione con materiali d'archivio di qualità museale, costruiti per durare nel tempo.
- Stampa giclée di qualità museale per colori ricchi e resistenti allo sbiadimento
- Carta fine-art opaca d'archivio, certificata FSC
- Diverse dimensioni e opzioni di cornice disponibili
- Cornici in nero, legno naturale, legno scuro o bianco
- Le stampe con cornice arrivano pronte per essere appese
Cura e pulizia
Per mantenere la tua opera d'arte al meglio:
- Spolvera delicatamente con un panno morbido e asciutto
- Evita l'esposizione prolungata alla luce solare diretta
- Non utilizzare mai detergenti liquidi sulla superficie della stampa o della tela
- Conserva in un ambiente asciutto a temperatura ambiente
- Maneggia le stampe con mani pulite e asciutte
Materiali e dimensioni
Stampa giclée di qualità museale su carta opaca d'archivio certificata FSC, con opzioni di cornice e tela.
- Dimensioni carta: A4, A3, A2, A1, A0 e B2 (50×70 cm)
- Tela: da XS (20×30 cm) a Large (60×90 cm)
- Cornici: nero, legno naturale, legno scuro o bianco
Completa il Look
Nude on Beach - Roy Lichtenstein
Prezzo originale
Da £37.00 GBP
Prezzo scontato
Da £37.00 GBP
Prezzo originale
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Roy Lichtenstein
Lichtenstein painted a Mickey Mouse for his children and one of them said 'I bet you can't paint as good as that.' He took the challenge literally. By 1961 he was making paintings that looked like enlarged comic book panels: thick black outlines, flat primary colours, Ben-Day dots visible as if through a printer's magnifying glass. The art world had no idea what to make of them.
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.
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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Fine Art Framed
From £59
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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