Thinking of Him - Roy Lichtenstein
Stampa giclée d'archivio
Le cornici arrivano pronte per essere appese
Pagamento sicuro
Fatto su ordinazione
Descrizione
A classic Pop Art piece by Roy Lichtenstein, featuring his signature comic book aesthetic, bold lines, and Ben-Day dots.
Roy Lichtenstein produced Thinking of Him in 1963, a period when he focused on the appropriation of commercial imagery. The work draws directly from the visual language of romance comic books, which were popular in the United States during the mid-twentieth century. By isolating a single frame, Lichtenstein removes the narrative context of the original source material, leaving the viewer with a frozen moment of emotional tension.
The composition employs the characteristic Ben-Day dots, a mechanical printing process used in mass-produced media to create shading and colour variation. Lichtenstein replicates this industrial technique by hand, using stencils to apply the dots across the skin tones of the female figure. The bold black outlines and the restricted palette of primary colours, including yellow, blue, and red, mimic the aesthetic of cheap newsprint. This choice of style forces a confrontation between high art and low culture, questioning the boundaries of artistic authorship.
The female subject is shown in profile, her expression one of sorrow, while the thought bubble contains the object of her contemplation. The man is depicted in a more detached, schematic manner, suggesting a memory or a fantasy rather than a physical presence. Through this reduction of human emotion to a series of graphic signs, Lichtenstein examines how mass media shapes our perception of personal experience. The work does not aim for psychological realism, but rather presents a stylised version of longing that is instantly recognisable. By elevating these commercial tropes to the scale of a gallery painting, Lichtenstein invites an analysis of the relationship between consumer culture and individual identity.
Politica di reso
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.
Spedizione
Spediamo in tutto il mondo, stampando presso il centro di produzione più vicino al tuo indirizzo di consegna. I tempi e i costi di spedizione variano in base alla destinazione: visualizzerai le opzioni disponibili al momento del pagamento.
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
Thinking of Him - 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.
Perché Scegliere Noi?
Garanzia di consegna senza danni
Spedizione rapida
Materiali di qualità museale
Potrebbe Interessarti Anche