Brush and india ink on paper
20 1/16 x 26 1/16 in. (51 x 66.2 cm)
Initialed lower right: rfl
Classification: drawing

Drawing

In this catalogue, works classified as drawing are as follows:

Drawing refers to any work with primarily drawn lines on paper or similar supports.

Drawing (color separation) defines works intended for transfer to a print matrix for a single color run of a print. Many color separation drawings contain collage elements in addition to drawn line.

Drawing (in a book), drawing (in a notebook), drawing (in a sketchbook) and drawing (in/from a guestbook) refer to drawings on different bound supports (or in the case of guestbooks, also removed from bound supports).

Drawing (instructional) works are a small group of demonstration drawings the artist made for students or friends.

Drawing (on print) is assigned to drawings on photographs and newspaper or magazine clippings. Most marker drawings are color studies over photographs of black line drawings.

Drawing (pastel) refers to a specific group of early drawings in pastel.

Drawing (technical) refers to designs for the artist's utilitarian inventions.

Drawings with only small printed paper clippings or cut paper "corrections" are not considered collages.

See also: 4.20. SKETCHBOOK, 4.12. NOTEBOOK

Titles

Most of Lichtenstein's known drawings were a starting point for developing ideas and compositions for paintings, sculptures and prints. In this catalogue, these drawings carry the title of the finished/final work followed by "(Study)," such as, RLCR 2560, Figures (Study). Titles of drawings with no known related final works were assigned per the methodology described in 6. TITLES.

Dates

The artist usually signed and/or dated his drawings once they left his studio. At times, this was years after completion and the date of creation was misremembered. Those dates have been corrected with a remark explaining the rationale. In the absence of an artist date, dates usually follow the RL Studio Card, or the date of a related subsequent work (e.g., a more finished collage, or final painting) with the qualifier "c."

Media Lines

All visible media on the recto is described. Media is listed in order of visual predominance as indicated by the researcher, followed by the support, usually paper. Lichtenstein mostly drew with graphite pencil and colored pencil; a greater variety of media is found in his early works on paper. 

When relevant, both the implement and the medium are given (e.g., pen and india ink, brush and india ink, etc.). Colors of mediums are not described. General media terms are used instead of brand names with some exceptions (see below). For most definitions and styles, entries follow: Ash, Nancy, Scott Homolka, and Stephanie Lussier. Descriptive Terminology for Works of Art on Paper. Philadelphia: Philadelphia Museum of Art, 2014.

Media of signature or inscriptions by the artist, if not used elsewhere in the work, is added separately, as in RLCR 937, Piano.

See also: 9. MEDIA AND SUPPORT

Dimensions

Entries include both sheet and image dimensions unless a work was overmatted or could not be unframed for examination. In those cases only image dimensions are given. When an examination was not possible, the dimensions found in the RLF Archives or other sources are given and cited in Remarks.

See also: 10. DIMENSIONS

Signature, Inscriptions, Marks

The artist signed and dated his drawings primarily in graphite pencil. Signatures and/or initials are found on recto or verso, with and without dates. Marks by the artist on the recto (e.g., dimensions, top indications) are not transcribed since they can be viewed in the Primary Image of an entry.  

See also: 11. INSCRIPTIONS

Process and Media Details

Support

In this catalogue, most drawing supports are broadly defined as paper.

Specific types are colored paper, ruled paper, graph paper, tracing paper and Denril (although technically not paper).

Colored paper refers to any paper to which the manufacturer likely added a coloring agent. It typically is not applicable to off-white and to tan-colored papers.

Ruled paper and graph paper describe papers with printed parallel or gridded lines. Drawings are also found on graph board.

Tracing paper and Denril are translucent supports Lichtenstein used for tracing images for color studies, transfer drawings, or projection. Tracing paper is a fibrous paper substrate, whereas Denril looks similar to tracing paper, but is a plastic (polypropylene) film. Denril is one of the materials identified in this catalogue by brand name due to the fact that the artist's assistants confirm that it was used consistently in the studio and its physical characteristics have been defined with some certainty. 

Non-paper and unusual supports are identified to the best of the authors' knowledge (e.g., board, parchment, envelope, canvas board). For photocopy and stationery, paper is implied.

For works classified as drawing (in a book), the support is inside the commercially printed book (e.g., book page, inside back book cover).

For works classified as drawing (in a notebook), drawing (in a sketchbook) and drawing (in/from a guestbook), the support is paper; it is implied that the paper is inside the notebook, sketchbook or guestbook, respectively.

In the case of multiple adjacent supports, the number of sheets is listed with an indication as to whether they are joined. Secondary supports are only included when likely original.

Dry Media

Bolder graphite lines and fill have often been confused with black colored pencil, which the artist rarely used. Thicker graphite lines sometimes suggest the use of graphite stick. Due to a lack of definite confirmation, in this catalogue, all graphite lines are categorized as graphite pencil.  

When researchers could not distinguish between colored pencil and wax crayon, colored pencil is listed.

Litho crayon, oil pastel, wax crayon and similar media are all referred to as crayon, with the exceptions of conté crayon and stenciled lithographic rubbing crayon (when confirmed in works of the early-1960s by conservators at The Morgan Library & Museum, New York). 

Lichtenstein used pastel and charcoal primarily in his early drawings. Charcoal wash refers to fields of charcoal pigment that were spread with a wetted brush.

Wet Media

When describing ink mediums, both the implement and the medium are listed to the best of the authors’ knowledge (e.g., pen and ink, brush and ink, ink wash). Also identified are ballpoint pen and marker (any porous-point pen).

Distinction is made between ink and india ink when possible. Modern india ink is a deeply black ink made waterproof with shellac. The resinous substance gives the ink a characteristic sheen, used as a means for identification.

For drawings with painted elements, distinction is made between opaque watercolor (for gouache), watercolor, oil and acrylic when possible. Application by brush is implied. Works made primarily from these paints are classified instead as painting (on paper). Brushed-on white corrections are characterized as "correction fluid or opaque watercolor." When paint type is unknown, the most likely paint is listed with a question mark. 

In a couple of early drawings, Lichtenstein applied an unknown resinous substance listed as resin in the entries.

Attachments

Most drawing attachments are cut paper corrections with graphite pencil and/or colored pencil additions. Method of attachment is not included in the media line unless it is visible from the recto.

Printed paper clippings are sometimes incorporated into the image or serve as a starting point (source material) for an idea.

Color and dots swatches are attached to drawings sent to printmakers for instructional purposes. 

Other miscellaneous attachments are described to the best of the authors' knowledge.

Other Techniques

When media application involved a masking out technique, the medium is listed followed by "with masking out." The material used for masking (e.g., frisket or small objects) is not identified.    

If the media is manipulated with a wash of water applied by brush, it is listed as "wetted brush."

When lines are created by scratching through the media and revealing the support, the entry says "with scratching out."

Tracings and Transfer Drawings 

In addition to tracing from projections, Lichtenstein traced directly from source material or from his own drawings and collages onto tracing paper and Denril. Tracings that have drawing on both sides (as indicated in the media line) were used to transfer an image to another sheet or board. 

Pre-Pop Drawings

Busche 1988 was a major guide when defining media lines for the artist's pre-Pop works. Busche viewed many of the early drawings in person and was sometimes able to consult with Lichtenstein.

Sketchbook Page Matches

For information about how the authors determined connections between drawings and sketchbooks or nonextant sketchbooks, see: 4.20. SKETCHBOOK, 4.21. SKETCHBOOK (NONEXTANT)

Read more: Guide to the Catalogue
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Catalogue entry

Artwork: Donald Duck, 1958 (RLCR 517)
RLCR 517 (Busche 250; RL 1359)
Donald Duck
1958
Title Source
Busche; RL Studio Card; RL Studio Photograph
Media
Brush and india ink on paper
Dimensions
20 1/16 x 26 1/16 in. (51 x 66.2 cm)
Inscriptions
Initialed lower right: rfl
Verso, lower right: 1359
Keyword
Cartoons
Exhibitions
1985–89a New York MoMA (Extended Loan)
Museum of Modern Art, New York, Extended Loan, 1985–February 1989, EL 1985.1082.
1987 London ICA
Institute of Contemporary Arts, London, Comic Iconoclasm, June 18–September 12, 1987 (all venues?) (Wagstaff, Sheena 1987, p. 29 b/w ill.). Traveled to: Douglas Hyde Gallery, Dublin, October 8–November 21, 1987; Cornerhouse Gallery, Manchester, United Kingdom, January 12–February 21, 1988; Circulos de Bellas Artes, Madrid, May 27–July 17, 1988; Louisiana Museum, Humlebaek, Denmark, August 20–October 30, 1988.
1992 Los Angeles MOCA
Museum of Contemporary Art, Los Angeles, Hand-Painted Pop: American Art in Transition, 1955–62, December 6, 1992–March 7, 1993 (DeSalvo and Schimmel 1992, p. 82 b/w ill.). Traveled to: Museum of Contemporary Art, Chicago, Ill., April 3–June 20, 1993; Whitney Museum of American Art, New York, N.Y., July 9–October 10, 1993.
1993 New York Guggenheim
Solomon R. Guggenheim Museum, New York, Roy Lichtenstein: A Retrospective, October 7, 1993–January 16, 1994 (only Munich, Hamburg, Brussels) (Waldman 1993b, no. 15 n.p. facing p. 15 b/w ill.). Traveled to: Museum of Contemporary Art, Los Angeles, Calif., January 26–April 3, 1994; Musée des Beaux-Arts de Montréal, Montreal, May 26–September 5, 1994; Haus der Kunst, Munich, October 13, 1994–January 9, 1995 (included early works) (Waldman 1994, no. 15 n.p. facing p. 15 b/w ill.); Deichtorhallen, Hamburg, Germany, February 8–April 30, 1995 (included early works) (Waldman 1994, no. 15 n.p. facing p. 15 b/w ill.); Palais des Beaux-Arts, Brussels, June 2–September 3, 1995 (included early works) (Waldman 1994, no. 15 n.p. facing p. 15 b/w ill.); Wexner Center for the Arts, Ohio State University, Columbus, Ohio, September 21, 1995–January 7, 1996 (abridged version) (Waldman 1994, no. 15 n.p. facing p. 15 b/w ill.).
2003 Humlebaek Louisiana
Louisiana Museum of Art, Humlebaek, Denmark, Roy Lichtenstein: All about Art, August 22, 2003–January 18, 2004 (Holm, Tøjner, and Caiger-Smith 2003a, no. 57 p. 14 b/w ill.). Traveled to: Hayward Gallery, London, February 26–May 16, 2004 (as Roy Lichtenstein); Museo Nacional Centro de Arte Reina Sofía, Madrid, June 24–September 27, 2004 (as Roy Lichtenstein) (Holm, Tøjner, and Caiger-Smith 2003b, no. 57 p. 14 b/w ill.); San Francisco Museum of Modern Art, San Francisco, Calif., October 20, 2004–February 22, 2005 (as Roy Lichtenstein) (Holm, Tøjner, and Caiger-Smith 2003b, no. 57 p. 14 b/w ill.).
2005 São Paulo Ohtake
Instituto Tomie Ohtake, São Paulo, Roy Lichtenstein: Vida animada/Animated Life, September 22–November 20, 2005 (Phillips, L. 2005, p. 23 b/w ill.). Traveled to: Museu Oscar Niemeyer, Curitiba, Brazil, December 6, 2005–March 5, 2006; Museu de Arte Moderna, Rio de Janeiro, March 22–May 21, 2006 (Phillips, L. 2006a, p. 23 b/w ill.); Museo de Arte Latinoamericano de Buenos Aires, Colección Costantini, Buenos Aires, Argentina Republic, June 9–August 7, 2006 (Phillips, L. 2006b, p. 24 b/w ill.).
2010 New York Morgan
Morgan Library and Museum, New York, Roy Lichtenstein: The Black-and-White Drawings, 1961–1968, September 24, 2010–January 2, 2011 (Dervaux 2010b, no. 1 p. 78 b/w ill.). Traveled to: Albertina, Vienna, January 27–May 15, 2011 (as Roy Lichtenstein: Black & White, 1961–1968) (Dervaux 2011b, no. 1 p. 82 b/w ill.).
2012 Chicago Art Institute
Art Institute of Chicago, Chicago, Roy Lichtenstein: A Retrospective, May 16–September 3, 2012 (only Chicago, London) (Rondeau and Wagstaff, Sheena 2012, no. 129 n.p. b/w ill.). Traveled to: National Gallery of Art, Washington, D.C., October 14, 2012–January 13, 2013; Tate Modern, London, February 21–May 27, 2013 (as Lichtenstein: A Retrospective) (Dunne 2012, no. 6 p. 10 b/w ill.); Musée National d'Art Moderne, Centre National d'Art et de Culture Georges Pompidou, Paris, July 3–November 4, 2013 (as Roy Lichtenstein, revised and reorganized) (Dunne 2013, no. 6 p. 10 b/w ill.); (Pompidou 2013); (Morineau 2013a).
2021 Waterville, Maine, Colby
Colby College Museum of Art, Waterville, Maine, Roy Lichtenstein: History in the Making, 1948–1960, February 11–June 6, 2021 (Finch, E, and Price 2020, p. 192 b/w ill.). Traveled to: Parrish Art Museum, Water Mill, N.Y., August 1–October 24, 2021; Columbus Museum of Art, Columbus, Ohio, March 5–June 5, 2022; Nasher Museum of Art, Duke University, Durham, N.C., August 25, 2022–January 8, 2023.
Literature
Carlin and Wagstaff, Sheena 1983
Carlin, John, and Sheena Wagstaff. The Comic Art Show: Cartoons in Painting and Popular Culture. New York: Fantagraphics Books, 1983. Exhibition catalogue (1983 New York Whitney Downtown), n.p. facing p. 58 b/w ill. [not exhibited].
Rose, Bernice 1987
Rose, Bernice. The Drawings of Roy Lichtenstein. New York: Museum of Modern Art, 1987. Exhibition catalogue (1987 New York MoMA), p. 18 b/w ill. [not exhibited].
Busche 1988
Busche, Ernst A. Roy Lichtenstein: Das Frühwerk, 1942–1960. Berlin: Gebr. Mann Verlag, 1988, no. 250 p. 224 b/w ill.
Rose, Bernice 1988
Rose, Bernice. Roy Lichtenstein: Die Zeichnungen 1961–1986. Munich: Hirmer, 1988. Exhibition catalogue (1987 New York MoMA), p. 16 b/w ill. [not exhibited].
Hindry 1991a
Hindry, Ann, ed. Artstudio. Special issue, Roy Lichtenstein, no. 20 (Spring 1991), p. 142 b/w ill.
Lobel 2002
Lobel, Michael. Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art. New Haven: Yale University Press, 2002, no. 12 p. 32 b/w ill.
Louisiana revy 2003
Louisiana revy (Humlebaek, Denmark). Special issue, Roy Lichtenstein 44, no. 1 (August 2003), no. 57 n.p. facing p. 5 b/w ill.
Collins, B. 2003
Collins, Bradford R. "Modern Romance: Lichtenstein's Comic Book Paintings." American Art (Smithsonian American Art Museum) 17, no. 2 (Summer 2003), no. 2 p. 63 b/w ill.
Novaes 2005
Novaes. "Wham! Blam! Pow! Roy." Folha De S. Paulo, September 20, 2005, p. E1 b/w ill.
Bader 2009
Bader, Graham, ed. Roy Lichtenstein. October Files 7. Cambridge, Mass.: MIT Press, 2009, p. 58 b/w ill.
Mitchell-Innes & Nash 2010
Mitchell-Innes & Nash, New York. Roy Lichtenstein Reflected. New York: Mitchell-Innes & Nash, 2010. Exhibition catalogue (2010 New York Mitchell-Innes & Nash), n.p. b/w ill. [not exhibited].
Mercurio 2010a
Mercurio, Gianni, ed. Lichtenstein: Kunst als Motiv. Cologne: DuMont, 2010. Exhibition catalogue (2010 Milan Triennale), p. 117 b/w ill. [not exhibited].
Bader 2010b
Bader, Graham. Hall of Mirrors: Roy Lichtenstein and the Face of Painting in the 1960s. Cambridge, Mass.: MIT Press, 2010, no. 1.11 p. 32 b/w ill.
Mercurio 2010c
Mercurio, Gianni, ed. Roy Lichtenstein: Meditations on Art. Translated from the Italian by Michael Haggerty. Milan: Skira; distributed by Rizzoli, New York, 2010. Exhibition catalogue (2010 Milan Triennale), p. 117 b/w ill. [not exhibited].
Mercurio 2010d
Mercurio, Gianni, ed. Roy Lichtenstein: Meditations on Art. Milan: Skira Editore, 2010. Exhibition catalogue (2010 Milan Triennale), p. 117 b/w ill. [not exhibited].

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