Tape, cut painted paper, cut printed paper, marker, graphite pencil on board
<span class="gray">Board:</span> 44 1/16 x 40 1/16 in. (111.9 x 101.8 cm)<div class="div_addlDim"><span class="gray">Image:</span> 39 1/4 x 35 11/16 in. (99.7 x 90.6 cm)</div>
Signed and dated verso, lower right: rf Lichtenstein / '94
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 and reflect the creative process of adding and removing material.

The sub-group collage (on a 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 or unknown 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 (located in RLF Archives), 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) because they are invisible from the recto. Attachment is implied.

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.

See also: 11. INSCRIPTIONS

Collage media is described in the following order:

tape (black outlines)

cut painted paper (solid shapes)

cut printed paper (patterned and solid shapes)

cut paper (blank paper)

acrylic (if painted directly on board)

marker (black outlines and other)

colored pencil

graphite pencil

other

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 given and it is indicated if 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. The media used for writing marks on collaged elements, as well as on the support, are listed per the order above.

See also: 9. MEDIA AND SUPPORT

The qualifier "cut" describes collage elements as in "cut painted paper."  We indicate if forms were torn instead of cut.

Cut painted paper stands for any solid-colored painted paper prepared in Lichtenstein's studio, whether matte (e.g., Ultra Blue, Cadmium Red Medium) or metallic (e.g., 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. Brush marks and irregular application can usually be discerned in and around dots during physical examination, but traces of these same irregularities are sometimes confusingly found in printed papers. This challenge, combined with our reliance on examination reports of varying depth, means that readers will sometimes find dots that are stencil-painted, but erroneously listed as printed, and vice versa. 

Cut printed paper includes solid-colored and patterned (dots, diagonals, wood grain) printed paper.   

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

Drawing media on collage elements is given after the attachment.

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: Nudes with Beach Ball (Study), 1994 (RLCR 4311)
RLCR 4311 (LC D-644; RL 1802)
Nudes with Beach Ball (Study)
1994
Title Source
RLF
Alternate titles and sources: Collage for Nudes with Beach Ball (Castelli); Nudes with Beach Ball (RL Studio Photograph); Nudes with Beach Ball – Collage for Painting (RL Studio Card; RL Studio Photograph)
Media
Tape, cut painted paper, cut printed paper, marker, graphite pencil on board
Dimensions
Board: 44 1/16 x 40 1/16 in. (111.9 x 101.8 cm)
Image: 39 1/4 x 35 11/16 in. (99.7 x 90.6 cm)
Inscriptions
Signed and dated verso, lower right: rf Lichtenstein / '94
Verso, lower left: 6-94 / 1802
Studio
745 Washington Street, New York
Research Images
Nudes with Beach Ball (Study), 1994 (RLCR 4311). Detail
Detail
Related Works
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Provenance
Estate of Roy Lichtenstein
Private collection, June 2020 (via Arcature Fine Arts, Palm Beach, Fla.)
Exhibitions
Museo de Arte Abstracto Español, Cuenca, Spain, Lichtenstein: En proceso, November 25, 2005–February 19, 2006 (not Paris) (Fundación Juan March 2005b, no. 17 p. 39 color ill.). Traveled to: Museu d'Art Espanyol Contemporani, Palma de Mallorca, Spain, March 7–September 9, 2006; Fundación Juan March, Madrid, February 2–May 27, 2007 (as Roy Lichtenstein: De principio a fin, revised and expanded) (Fundación Juan March 2007a, no. 47 p. 74 color ill.); (Fundación Juan March 2007b, no. 47 p. 74 color ill.); Pinacothèque de Paris, Paris, June 15–September 23, 2007 (as Roy Lichtenstein: Évolution, revised and expanded) (Fundación Juan March 2007c, no. 47 p. 74 color ill.); Katonah Museum of Art, Katonah, N.Y., March 29–June 28, 2009 (revised and abridged) (Katonah Museum 2009, p. 23 color ill.); Dixon Gallery and Gardens, Memphis, Tenn., October 18, 2009–January 17, 2010 (revised and abridged) (Katonah Museum 2009, p. 23 color ill.); Frederick Weisman Museum of Art, Pepperdine University, Malibu, Calif., January 22–April 3, 2011 (Katonah Museum 2009, p. 23 color ill.).
Literature
Ropac, Thaddaeus, ed. The Muse? Transforming the Image of Woman in Contemporary Art: An Exhibition of the Galerie Thaddaeus Ropac and the Salzburg Festival 1995. Translated from the German by Elizabeth Mortimer and Gail Schamberger. Salzburg: Verlag Anton Pustet, 1995. Exhibition catalogue (1995 Salzburg Ropac), no. 46 p. 95 color ill. [not exhibited].

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