Forget It! Forget Me! - Roy Lichtenstein
Archival giclée
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Description
A classic 1962 Pop Art work by Roy Lichtenstein, featuring his signature comic-strip style, bold outlines, and dramatic narrative tension.
Forget It! Forget Me! is a representative example of Roy Lichtenstein's engagement with the visual language of mid-century American comic books. Produced in 1962, the work employs the artist's signature aesthetic: bold black outlines, a limited primary colour palette, and the use of Ben-Day dots to simulate the mechanical printing processes of mass-market publications.
The composition focuses on a dramatic, cropped interaction between two figures. A man occupies the foreground, his face partially obscured and turned away, while a woman appears behind him, her expression conveying a sense of emotional confrontation. The inclusion of a speech bubble, containing the text 'FORGET IT/FORGET ME/I'M FED UP WITH YOUR KIND/', removes the narrative from a specific context, leaving the viewer to interpret the tension between the characters. By isolating this single frame, Lichtenstein transforms a fleeting moment of melodrama into a static, iconic image.
Lichtenstein's approach to painting during this period involved a deliberate rejection of the gestural brushwork associated with Abstract Expressionism. Instead, he favoured a detached, industrial appearance. The application of paint is flat and uniform, mimicking the look of commercial reproduction. This technique forces a re-evaluation of the boundary between high art and popular culture. The work does not seek to provide a psychological depth to the characters, but rather examines the way emotions are codified and communicated through the simplified imagery of popular media. The stark contrast between the yellow hair, red background, and dark blue clothing creates a visual impact that remains consistent with the artist's broader exploration of graphic design and visual communication in the 1960s.
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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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Manufacturing
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
Care & Cleaning
To keep your artwork looking its best:
- 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
- Handle prints with clean, dry hands
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
Forget It! Forget Me! - 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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