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.
World's Fair Mural - Roy Lichtenstein
Normale prijs
£37.00 GBP
Actieprijs
£37.00 GBP
Normale prijs
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Beschrijving
A classic Pop Art composition by Roy Lichtenstein, featuring a stylised female figure framed in a window, executed in his signature comic-book aesthetic.
Roy Lichtenstein produced this work for the New York World's Fair in 1964. It is a large-scale commission that reflects his interest in the visual language of mass media and commercial printing. The composition features a woman framed within a window, her expression one of joy or anticipation. Lichtenstein employs his signature aesthetic, which includes thick black outlines, flat areas of primary colour, and the use of Ben-Day dots to suggest shading and texture. This technique mimics the mechanical reproduction processes found in comic books and newspapers of the mid-twentieth century.
The figure is rendered with a stylised simplicity that removes individual detail, turning the subject into a recognisable icon of popular culture. Her pose, with arms crossed and eyes closed, suggests a moment of private emotion, yet the execution remains detached and clinical. By isolating this image from its original narrative context, Lichtenstein forces the viewer to focus on the formal qualities of the work rather than the psychological state of the subject. The green frame surrounding the figure acts as a secondary border, reinforcing the idea of the image as a constructed object rather than a window into reality.
This piece is representative of the artist's broader practice during the 1960s, where he sought to bridge the gap between high art and low culture. By elevating a comic-book style illustration to the scale of a mural, he questioned the traditional hierarchies of the art world. The work remains a clear example of how Lichtenstein utilised industrial printing aesthetics to create a distinct visual vocabulary. The flat application of paint and the deliberate lack of painterly brushwork are central to his approach, ensuring the final image appears as if it were printed rather than painted by hand.
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Productie
Elke print wordt op bestelling gemaakt met 12-kleuren giclée-druk op FSC-gecertificeerd archiefpapier. Ontworpen in Groot-Brittannië en gedrukt in het dichtstbijzijnde productiecentrum om verspilling tegen te gaan en de levering te versnellen.
Verzorging en materialen
Specifieke kenmerken
Elk Solis-stuk wordt op bestelling gemaakt met archiefbestendige materialen van galeriekwaliteit die zijn ontworpen om lang mee te gaan.
- Giclée-print van museumkwaliteit voor rijke, kleurvaste kleuren
- Archiefbestendig mat fine-art papier, FSC-gecertificeerd
- Diverse formaten en inlijstopties beschikbaar
- Lijsten in zwart, naturel hout, donker hout of wit
- Ingelijste prints worden klaar om op te hangen geleverd
Verzorging & reiniging
Om uw kunstwerk in topconditie te houden:
- Stof voorzichtig af met een zachte, droge doek
- Vermijd langdurig direct zonlicht
- Gebruik nooit vloeibare reinigingsmiddelen op het oppervlak van de print of het canvas
- Bewaar in een droge ruimte op kamertemperatuur
- Hanteer prints met schone, droge handen
Materialen & formaten
Giclée van museumkwaliteit op FSC-gecertificeerd archiefbestendig mat papier, met opties voor inlijsting en canvas.
- Papierformaten: A4, A3, A2, A1, A0 en B2 (50×70 cm)
- Canvas: XS (20×30 cm) tot Large (60×90 cm)
- Lijsten: zwart, naturel hout, donker hout of wit
Maak de look compleet
World's Fair Mural - Roy Lichtenstein
Normale prijs
Vanaf £37.00 GBP
Actieprijs
Vanaf £37.00 GBP
Normale prijs
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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Every piece is printed to order. These are the five finishes, and what makes each one different.
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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