Modular painting with four panels, #2 - Roy Lichtenstein
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A geometric composition by Roy Lichtenstein featuring repeating arcs and triangles rendered in his signature Pop Art style.
Roy Lichtenstein produced his Modular series in the late 1960s, moving away from the comic-strip imagery that defined his earlier career. This work, Modular painting with four panels, #2, demonstrates his interest in systematic, geometric arrangements. The composition consists of four identical canvases joined together to form a larger square. Each panel features a repeating pattern of arcs, triangles, and straight lines, creating a sense of order and mechanical precision.
Lichtenstein employs his signature Ben-Day dots within the triangular sections, a technique borrowed from commercial printing processes. These dots provide texture and contrast against the flat, solid blocks of colour. The palette is restricted to primary colours, black, and white, which serves to flatten the visual space and emphasise the graphic quality of the design. By using a modular format, the artist allows for the possibility of different configurations, reflecting his fascination with industrial production and the serial nature of modern art.
The work is devoid of expressive brushwork, favouring a clean, impersonal finish that aligns with the aesthetic of the Pop Art movement. The repetition of shapes across the four panels creates a rhythmic visual experience, where the eye is guided through the interlocking forms. This piece represents a shift toward a more formalist approach, where the subject matter is the structure itself rather than a narrative or figurative element. It is a study in balance and symmetry, executed with the technical rigour that characterises Lichtenstein's later output.
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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
Modular painting with four panels, #2 - 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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