Oil, graphite pencil on canvas
48 3/16 x 48 1/8 in. (122.4 x 122.2 cm)
Initialed lower right: rfl
Classification: painting

Painting

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

Painting is a work with acrylic and/or oil on canvas or on another two-dimensional support (canvas board, wood panel, etc.)

Painting (mural) is a large-scale painting, historically called "mural"

Painting (on paper) describes a work in acrylic, oil or watercolor on paper or board

Painting (on plastic) describes paintings on plexiglas or on plexiglas and plastic box frames

Dates

Lichtenstein usually signed and dated a painting on the verso around the time it was finished, inventoried or shipped to a gallery or storage. Some pre-Pop paintings were dated in code (e.g., RLCR 502). 

See also: 8. DATES

Media Lines

Described are all media visible on a painting's recto. Paint is listed first, followed by graphite pencil where present, followed by the support. An inscription's medium is given beneath the media line if different from the painting media.

The painting media lines in this catalogue are rarely based on technical analysis by a museum or a conservator. They are mostly informed by conversations with the artist's studio assistants, by examination of paint jars and tubes that were kept after the artist's death and by RLF records or Leo Castelli Gallery files. 

Acrylic and Oil Paints

In this catalogue, all types of acrylic paint are listed as "acrylic" and all types of oil paint as "oil."

Historically, the brand name "Magna" (acrylic dispersion paint by Bocour Artist Colors, Inc.) has been used to describe all of Lichtenstein's acrylic. RLF records and technical analysis by art museums confirm that the artist did not only use Magna, but at times Liquitex acrylic emulsion paint and, later, Golden Artist Colors acrylic dispersion paint. When Magna production stopped around 1990, Lichtenstein bought up large amounts of Magna. He also reached out to Golden who worked with him to devise custom MSA colors in Lichtenstein's hallmark hues.      

Pop paintings and later works were usually painted with both acrylic and oil. It is assumed that around 1962 Lichtenstein experimented with Liquitex and Magna before adopting Magna as the main medium. For paintings from 1962–63, media lines are informed by notes on RL Studio Cards and/or in the Leo Castelli Gallery inventory. In rare instances, media lines were written by the artist on the verso of a work (e.g., RLCR 691). For paintings from 1964 and beyond, solid colors are assumed to be acrylic and dots and diagonals are assumed to be oil. Lichtenstein preferred oil for stenciled patterns because it was slow drying (fast-drying Magna stuck to stencils and resulted in stray paint strands) and because, if corrections were needed, oil could be removed with solvent without disrupting the acrylic underneath. However, it is possible that Lichtenstein continued his experimentation with paints through and after 1964.

Graphite Pencil Underdrawing

Pencil has not usually been listed in media lines for Lichtenstein’s paintings. However, a closer look reveals that graphite pencil underdrawing and erased lines are visible in most of them, starting with his 1960s works. The artist left those lines due to his well-known intention that his work not appear “too finished,” therefore, graphite pencil is included in the painting media lines in this catalogue. If in question from examination report results or other documentation, the presence of graphite pencil is assumed. When a researcher's examination report confirms that pencil is not visible, it is not included.

Painting: Other Mediums and Techniques

Canvas
Different types of canvas are not described. Lichtenstein favored #10 cotton duck canvas from New York Central Art Supply; he also purchased duck canvas from U.S. Art Canvas and possibly others. Circular and oval canvases were ordered from David A. Paul and New York Central Art Supply. Earlier paintings' canvases are typically finer and sometimes described as "linen" in studio records.

Sand
In the Imperfect/Perfect and Entablature paintings, grainy areas are visible. Lichtenstein created this texture by adding beach sand, usually to a thick white underlayer over which he applied the final color. 

Sgraffito
This reductive technique of line-making is found in about 25 pre-Pop paintings. 

Stretchers
Stretchers are not included in media lines. Anco and H. Cole stretchers, among others, are used in Lichtenstein’s pre-Pop paintings; Sgroi Canvas Chassis stretchers are used in paintings from the late 1960s through early 1970s. Lebron stretchers were standard beginning around 1972.

Strip frames
Strip frames are not included in media lines. Slightly raised above the edges, strip frames served as practical protection during shipment and storage movements and were routinely added to paintings in Lichtenstein’s studio by the 1970s, but are documented in exhibition installation images as early as the early 1960s.

Painting on Paper: Other Mediums and Techniques

Masking out
Masking techniques are indicated, but the material used (e.g., frisket, small objects) is not identified (e.g., RLCR 219).

Watercolor application
When it is applied in multiple ways, watercolor application method is described, otherwise brush is implied. For example, see RLCR 365: “Watercolor, brushed, smudged by hand and sprayed, with masking out, graphite pencil on paper." 

Dimensions

Painting dimensions are given from canvas edge to canvas edge, excluding original wood strip frames nailed to the edges. 

For multi-panel paintings, if panels are joined, overall dimensions and dimensions of each canvas are given. If panels are separate, only panel dimensions are provided since overall dimensions vary by installation. Lichtenstein usually suggested a distance of approximately 7 inches between canvases for installation. This fact informed spacing of related images in the catalogue entries (e.g., RLCR 1635). 

See also: 10. DIMENSIONS

Signature, Inscriptions, Marks

The artist usually signed and dated his paintings on the canvas verso in charcoal and applied a spray fixative before sending it to a gallery or storage.  

Pre-Pop paintings are often signed or initialed on the recto in oil, or inscribed with the artist's name and other tombstone information on the stretcher or tacking margin. 

See also: 11. INSCRIPTIONS

Read more: Guide to the Catalogue
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Catalogue entry

Artwork: I Can See the Whole Room! ... And There's Nobody in It!, 1961 (RLCR 639)
RLCR 639 (LC 10; RL 0062)
I Can See the Whole Room! ... And There's Nobody in It!
1961
Title Source
RLF
Alternate titles and sources: I Can See the Whole Room ... And There's Nobody in It (Castelli); I Can See the Whole Room and There's Nobody in It... (RL Studio Card); Whole Room (RL Register)
Media
Oil, graphite pencil on canvas
Dimensions
48 3/16 x 48 1/8 in. (122.4 x 122.2 cm)
Inscriptions
Initialed lower right: rfl
Keyword
Cartoons
Provenance
Burton and Emily Tremaine, Meriden, Conn., November 1961 (via Leo Castelli Gallery, New York City)
(Christie's, New York, November 9, 1988, Contemporary Art from The Tremaine Collection, sale 6722, lot 27)
Private collection, New York
(Christie's, New York, November 8, 2011, sale 2480, lot 34)
Private collection
Exhibitions
1962 Hartford Wadsworth
Wadsworth Atheneum, Hartford, Connecticut, American Painting and Sculpture from Connecticut Collections, July 25–September 9, 1962.
1963 New York Guggenheim
Solomon R. Guggenheim Museum, New York, Six Painters and the Object, March 14–June 12, 1963 (only New York) (Alloway 1963b). Traveled to: Los Angeles County Museum of Art, Los Angeles, Calif., July 24–August 25, 1963 (with a supplementary exhibition titled Six More); Minneapolis Institute of Arts, Minneapolis, Minn., September 3–29, 1963; University of Michigan Museum of Art, Ann Arbor, Mich., October 9–November 3, 1963 (with a supplementary exhibition titled A New Realist Supplementary) (Sachs, Samuel 1963); Rose Art Museum, Brandeis University, Waltham, Mass., November 18–December 29, 1963 (Sachs, Samuel 1963); Carnegie Institute, Pittsburgh, Pa., January 17–February 23, 1964 (Sachs, Samuel 1963); Columbus Gallery of Fine Arts, Columbus, Ohio, March 8–April 5, 1964 (Sachs, Samuel 1963); The Art Center in La Jolla, La Jolla, Calif., April 20–May 17, 1964 (Sachs, Samuel 1963).
1964 Middletown, Conn., Davison
Davison Art Center, Wesleyan University, Middletown, Connecticut, The New Art, March 1–22, 1964 (Green 1964).
1969b New York MMA
Metropolitan Museum of Art, New York, New York Painting and Sculpture: 1940–1970, October 18, 1969–February 1, 1970 (Geldzahler 1969, no. 228 p. 216 b/w ill.).
1978 Stamford Museum
Stamford Museum, Stamford, Connecticut, The Eye of the Collector: Contemporary Art, March 20–May 21, 1978.
1980 New York Pace
Pace Gallery (32 East 57th Street), New York, Eight Painters of the 60s: Selections from the Tremaine Collection, March 28–April 26, 1980.
1983 New York Whitney Downtown
Whitney Museum of American Art, Downtown Branch at Federal Hall National Monument, New York, The Comic Art Show: Cartoons in Painting and Popular Culture, July 13–August 31, 1983 (Carlin and Wagstaff, Sheena 1983, p. 69 b/w ill.).
1984 Hartford Wadsworth
Wadsworth Atheneum, Hartford, Connecticut, The Tremaine Collection: 20th Century Masters, The Spirit of Modernism, February 26–April 29, 1984 (Wadsworth 1984, p. 99 color ill.).
1985 Sydney AGNSW
Art Gallery of New South Wales, Sydney, Pop Art 1955–70, February 27–April 14, 1985 (Geldzahler 1985, p. 60 color ill.). Traveled to: Queensland Art Gallery, Brisbane, Australia, April 30–June 2, 1985; National Gallery of Victoria, Melbourne, Australia, June 25–August 11, 1985.
1985 New York Gagosian
Larry Gagosian Gallery (521 West 23rd Street), New York, Pop Art from the Tremaine Collection, October 4–November 16, 1985.
Literature
Berg 1961
Berg, Paul. "About-Face from the Abstract." St. Louis Post-Dispatch Sunday Pictures, December 31, 1961, p. 10 b/w ill. (as Peephole; in collectors' home).
Loran 1963b
Loran, Erle. "Pop Artists or Copy Cats?" ARTnews 62, no. 5 (September 1963), p. 61 b/w ill.
Hultén 1964
Hultén, Pontus. Amerikansk Pop-Konst: 106 former av kärlek och förtvivlan. Stockholm: Moderna Museet, 1964. Exhibition catalogue (1964 Stockholm Moderna Museet), p. 19 b/w ill. (in pink), [not exhibited].
Roberts, C. 1967
Lichtenstein, Roy, and Colette Roberts. "Interview de Roy Lichtenstein." Aujourd'hui: Art et architecture 10, nos. 55–56 (December 1966–January 1967), no. 9 p. 127 b/w ill. (foldout).
Boime 1968
Boime, Albert. "Roy Lichtenstein and the Comic Strip." Art Journal 28, no. 2 (Winter 1968–69), no. 1 p. 156 b/w ill.
Compton 1970
Compton, Michael. Pop Art. London: Hamlyn Publishing Group, 1970, no. 100 p. 96 b/w ill. (as I Can See the Whole Room).
Weber, J. 1970
Weber, Jürgen. Pop Art: Happenings und Neue Realisten. Munich: Heinz Moos Verlag, 1970, no. 65 p. 55 b/w ill.
Crespo 1970a
Crespo, Ángel. Roy Lichtenstein y el arte pop. Mayagüez: Universidad de Puerto Rico, 1970. Exhibition catalogue (1970 Mayagüez Universidad de Puerto Rico), no. 2 n.p. b/w ill. [not exhibited].
Crespo 1970b
Crespo, Ángel. "Roy Lichtenstein y el arte pop." Revista de arte/The Art Review (Universidad de Puerto Rico, Mayagüez), no. 5 (June 1970), no. 2 p. 11 b/w ill.
Kettlewood 1972
Kettlewood, Beatrice Card. "A Study of Visual Space in Selected American Paintings 1945–1965: In Relation to the 1970–1972 Paintings of the Artist-Investigator." EdD diss., New York University, New York, 1972, no. 25 p. 138 b/w ill.
Coplans 1972a
Coplans, John, ed. Roy Lichtenstein. New York: Praeger Publishers, 1972, no. 5 n.p. b/w ill.
Dubreuil-Blondin 1980a
Dubreuil-Blondin, Nicole. La Fonction critique dans le Pop Art américain. Montreal: Presses de l'Université de Montréal, 1980, no. 43 n.p. b/w ill.
Staniszewski 1985
Staniszewski, Mary Anne. "Pop's Public Relations." Art and Text, no. 19 (October–December 1985), p. 82 b/w ill.
Busche 1988
Busche, Ernst A. Roy Lichtenstein: Das Frühwerk, 1942–1960. Berlin: Gebr. Mann Verlag, 1988, fig. 160 p. 248 b/w ill. (as I Can See the Whole Room).
Hendrickson 1988
Hendrickson, Janis. Roy Lichtenstein. Cologne: Benedikt Taschen, 1988, p. 78 b/w ill.
Busche 1989
Busche, Ernst A. Roy Lichtenstein: Pop-Paintings, 1961–1969. Schirmer's visuelle Bibliothek 6. Munich: Schirmer/Mosel, 1989, no. 4 n.p. color ill.
Hindry 1991a
Hindry, Ann, ed. Artstudio. Special issue, Roy Lichtenstein, no. 20 (Spring 1991), p. 130 color ill.
Jancène 1997
Jancène, France. "Les mots dans la peinture pop américaine: Jasper Johns, Andy Warhol et Roy Lichtenstein." PhD diss., Université de Paris X, Nanterre, 1997, p. 257 ill.
Clearwater 2001
Clearwater, Bonnie. Roy Lichtenstein: Inside/Outside. North Miami: Museum of Contemporary Art, 2001. Exhibition catalogue (2001 North Miami MOCA), fig. 27 p. 52 color ill. [not exhibited].
Francis, M. 2001
Francis, Mark. Les années pop, 1956–1968. Paris: Gallimard and Centre Georges Pompidou, 2001. Exhibition catalogue (2001 Paris Pompidou), no. 61.28 color ill. [not exhibited].
Lobel 2001
Lobel, Michael. "Technology Envisioned: Lichtenstein's Monocularity." Oxford Art Journal 24, no. 1 (2001), no. 1 p. 134 b/w ill.
Lobel 2002
Lobel, Michael. Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art. New Haven: Yale University Press, 2002, no. 42 p. 76 color ill.
Louisiana revy 2003
Louisiana revy (Humlebaek, Denmark). Special issue, Roy Lichtenstein 44, no. 1 (August 2003), p. 9 color ill.
Francis, M. 2013
Francis, Mark, ed. The Show Is Over. London: Gagosian Gallery, 2013. Exhibition catalogue (2013 London Gagosian), back flyleaf color ill. [not exhibited].
Reference Material
SRC 21221
Steve Roper
August 6, 1961

Overgard, William (artist), and Allen Saunders (author). Steve Roper (August 6, 1961), Publishers Syndicate.

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