Cut painted paper, cut printed paper, cut printed and painted paper, marker, graphite pencil on board
<span class="gray">Board:</span> 32 5/16 x 24 5/16 in. (82 x 61.7 cm)<div class="div_addlDim"><span class="gray">Image:</span> 27 1/2 x 19 1/2 in. (69.9 x 49.5 cm)</div>
Signed and dated lower right: rf Lichtenstein '68
Classification: collage

Collage

In this catalogue, collage is defined as a work made of paper attachments on board or paper. Most of Lichtenstein's collages are preparatory works for sculptures, prints and paintings.

The sub-group collage (on print) describes works with cut paper attachments on pre-printed supports, such as print proofs or postcards.

Titles

Collages that lead to a known final work carry the title of that work followed by "(Study)," e.g., RLCR 2739, Mermaid (Study).

Titles of collages with no known related final works were assigned following the methodology described in 6. TITLES.

Dates

Collages not dated by the artist have usually been assigned the date noted on the related RL Studio Cards, unless research suggests a different date or date range. The artist wrote specific dates on the recto of a small group of collages, e.g., RLCR 2963, Surrealist Head (Study). These dates are likely the dates when a collage was handed over to a maquette builder.

Media Lines

All visible media on the artwork recto is described. Excluded are methods of attachment (e.g., liquid adhesive, pressure-sensitive adhesive film).

Many collages are marked up by the artist with diagrams, arrows and annotations providing directions for the builder of the related sculpture. These are not transcribed since they can be viewed in the Primary Image or Research Images.

See also: 11. INSCRIPTIONS

Collage media is described in a pre-determined order based roughly on order of predominance in most collages.

Media is followed by support, usually "on board" or "on paper." Most collages are on white museum board. Where multiple adjacent supports were used, the number of boards or sheets is provided with an indication as to whether they are joined. Secondary supports are only included when considered to be original.

Collage elements sometimes overlap and may be adhered to each other rather than just the support. In this catalogue, we simply write "on board" (or other support), instead of describing the nexus of attachments.

See also: 9. MEDIA AND SUPPORT

Collage elements differ in type and are described as such:

Cut painted paper stands for any solid-colored painted paper prepared in Lichtenstein's studio, whether matte (e.g., shades like Ultra Blue, Cadmium Red Medium) or metallic (e.g., shades like silver, graphite).

Cut painted paper with sand refers to collage elements for which sand was mixed with the acrylic for textural effect.

Cut stencil-painted paper refers to patterned paper to which dots and diagonals were applied via paint through stencil. According to the artist's studio assistants, cut stencil-painted paper was made with oil paint. We made every effort to distinguish between stencil-painted and printed dots.

Cut printed paper includes solid-colored paper and paper with dots, diagonals and wood grain, etc., typically screenprinted.

Cut printed and painted paper stands for collage elements with both printed and painted parts.

It is indicated if collage elements are not cut but torn.

Dimensions

Entries usually include both board (or sheet) and image dimensions. If a work was overmatted and could not be unframed for examination, the image dimensions are given. RLF Archives material and other sources were consulted for measurements the catalogue team was unable to take in person. Sources are cited in Remarks.

See also: 10. DIMENSIONS

Read more: Guide to the Catalogue
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Catalogue entry

Artwork: Modern Painting for New York State Mural (Town and Country) (Study), 1968 (RLCR 1557)
RLCR 1557 (Bianchini 68-1; LC D-33; LC D-86; RL 1644)
Modern Painting for New York State Mural (Town and Country) (Study)
1968
Title Source
RLF
Alternate titles and sources: Collage for New York State Mural (Town and Country) (RLF); Drawing for Modern Painting of New York State (Castelli); New York State Mural (Town and Country) – Collage for Painting (RL Studio Card); Study for Mural for NY State Legislature Building (RL Studio Photograph); Town and Country (Bianchini; Castelli)
Media
Cut painted paper, cut printed paper, cut printed and painted paper, marker, graphite pencil on board
Dimensions
Board: 32 5/16 x 24 5/16 in. (82 x 61.7 cm)
Image: 27 1/2 x 19 1/2 in. (69.9 x 49.5 cm)
Inscriptions
Signed and dated lower right: rf Lichtenstein '68
Examination Notes

Work could not be examined unframed.

Remarks

Image dimensions per RL Studio Card.

In May 1968, the Empire State Plaza Art Commission invited Lichtenstein to create a mural for the Legislative Office Building in Albany, N.Y. Established in 1965, the Commission was building a collection for the Empire State Plaza, a major modernist development organized by then-governor Nelson Rockefeller and designed by architect and Commission chairman Wallace K. Harrison. Commission members included Whitney Museum of American Art curator Robert Doty, arts patron and Woolworth heir Seymour Knox, and Museum of Modern Art Director Rene d’Harnoncourt (replaced by curator Dorothy Miller in October, 1968). Two years earlier, the Committee had considered but didn’t pursue purchasing RLCR 1072, Explosion I

The Commission requested a sketch for a prospective work in oil on canvas, of approximately 28 x 20 feet, to be installed above the grand stair of the building’s central hall. Lichtenstein submitted this collage by October 1968. By February 1969, the Commission was considering alternative locations for the work. In April, they discussed placing the work in the Meeting Hall lobby’s concourse (lower) level. In May, the Commission rejected Lichtenstein’s submission altogether (Internal report, Empire State Plaza Art Collection, Office of General Services Curatorial/Tour Services, Albany, N.Y., 1995).

In the Castelli inventory, the unrealized mural is numbered LC 503.

Keyword
Commission
Related Works
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Provenance
Paul Bianchini, New York City, January 1970 (with 8 Lichtenstein works in exchange with artist for drawings by Francis Picabia, René Magritte and Joan Miró)
Les Editions des Massons SA, Lausanne, Switzerland
Galerie Beyeler, Basel, Switzerland, 1972
Private collection, Switzerland, 1973
(Christie's, London, February 11, 2010, sale 7834, lot 18)
Exhibitions
Galerie Beyeler, Basel, Switzerland, Roy Lichtenstein, June 19–September 8, 1973 (Beyeler [Galerie] 1973, no. 13 front cover color ill.).
Museum der Stadt Solothurn, Solothurn, Switzerland, Aspekte aus neueren Solothurner Sammlungen: 125 Jahre Kunstverein Solothurn, September 28–November 2, 1975 (Medici, Stadt Solothurn, and Kunstverein Solothurn 1975, no. M-9 b/w ill.).
Literature
Bianchini, Paul, ed. Roy Lichtenstein: Drawings and Prints. Lausanne: Publications IRL, 1970, no. 68-1 n.p. facing p. 122 b/w ill.
Roy Lichtenstein Foundation and Mitchell-Innes & Nash, New York. Roy Lichtenstein: Times Square Mural. New York: Roy Lichtenstein Foundation and Mitchell-Innes & Nash, 2002. Exhibition catalogue (2002 New York Mitchell-Innes & Nash), n.p. color ill. (color xerox on Lichtenstein studio inventory card, detail), [not exhibited].
Gagosian Gallery, New York, and Roy Lichtenstein Foundation. Roy Lichtenstein: Greene Street Mural. New York: Gagosian Gallery, 2015. Exhibition catalogue (2015b New York Gagosian), fig. 71 n.p. facing p. 171 color ill. [not exhibited].

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