(after), Roy Lichtenstein - Red Barn II - Silkscreen...

Silkscreen print after Roy Lichtenstein (*) Original poster, reproduction of the work “Red Barn II”, created by Roy Lichtenstein in 1969 and part of the Museum Ludwig Köln collection. Published by Achenbach Art Edition, Düsseldorf. Print authorized with copyright and a legal serial number. Large format. *** LAST FEW REMAINING PIECES *** - Sheet dimensions: 70.5 x 90 cm - Year: 1989 - Condition: Excellent (this work has never been framed or exhibited, always kept in a professional art folder, and therefore in perfect condition). - Provenance: Private collection. The work will be carefully handled and packaged in reinforced cardboard packaging. The shipment will be tracked. The shipment will also include transport insurance for the final value of the work with full reimbursement in case of loss or damage, at no cost to the buyer. (*) The painter and sculptor who stripped the comic of its material to turn it into museum material. Roy Lichtenstein was one of the key figures of American pop, and as such drew inspiration for his work from popular art: commercial ads, magazines, comics…; as well as from the history of traditional art: Art Deco, Cubism, Abstract Expressionism (in which he was involved at the start of his career)… Lichtenstein’s work is characterized by irony (something pop artists boasted about, sometimes masked as snobbery or superficiality…), the use of Benday dots (used in graphic arts) and industrial colors, the language of comics (onomatopoeia, panels, narrative) and command of line. Lichtenstein began in the fashionable Abstract Expressionism, but soon joined the rest of the pop guerrilla to rebel against the abstract and to use figuration. Moreover, figuration that is as popular and mechanical as possible. Undoubtedly, in 1958 there was nothing more popular and mechanical than a comic, so Lichtenstein decided he would create mass-produced commercial images. That is… what looks like it was produced by a machine is done by hand. Those images were faithful portraits of a consumer society and mass culture, which may or may not be a critique of the contemporary world, an idealization or a satire of Western capitalist society. That ambiguity between critique and admiration, between mockery and respect, is typical of pop art, which cynically plays with a masquerade. A New Yorker by birth, Lichtenstein lived in this city, the capital of all that pop represents, and he would die there at the age of 73, celebrated as an artist who sold paintings for more than 40 million euros.

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