Oil, graphite pencil on canvas
26 x 30 in. (66 x 76.2 cm)
Signed and dated verso, upper right: rf Lichtenstein / 61
Classification: painting


In this catalogue paintings are classified 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


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.

Acrylic and Oil Paints

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. 

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 in c. 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 of 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 of 1964 and beyond, solid colors are assumed to be acrylic and dots and diagonals oil. However, it is possible that Lichtenstein continued his experimentation with paints through and after 1964.

Graphite Pencil Underdrawing

A closer look at Lichtenstein's paintings reveals that graphite pencil underdrawing and palimpsest is visible in most of them, starting in the 1960s. Nevertheless, pencil has not historically been mentioned in the related media lines. Due to the artist's well-known intention that his work not appear "too finished," this catalogue includes pencil in media lines. 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

Different types of canvas are not described. A regular type used was #10 cotton duck from New York Central Art Supply. Circular canvases were at least partially ordered there as well. Earlier paintings' canvases are typically finer and sometimes described as "linen" in studio records. 

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. 

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

Stretchers are not included in media lines. Lebron stretchers were standard orders from c. 1972 on, and were typically delivered assembled. A different stretcher brand was introduced once and quickly abandoned.  

Strip frames
Strip frames are not included in media lines. Slightly raised above the edges, strip frames served as a practical protection during shipment and storage movements and were routinely added to paintings at least from the time James dePasquale became Lichtenstein's assistant.   

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." 


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: Turkey, 1961 (RLCR 661)
RLCR 661 (LC 16; RL 0066)
Title Source
Castelli; RL Studio Card; RL Studio Photograph
Alternate title and source: The Turkey (RL Register)
Oil, graphite pencil on canvas
26 x 30 in. (66 x 76.2 cm)
Signed and dated verso, upper right: rf Lichtenstein / 61
Examination Notes
Tacking margin and stretcher partially inaccessible.
Commercial imagery
Related Works
Dr. Arthur Carr, New York, February 1962 (via Leo Castelli Gallery, New York City)
Peder Bonnier, Inc., New York City (via Ivan Karp, New York City)
The artist, March 1980 (via Leo Castelli Gallery, New York City, with RLCR 724, Swiss Cheese, in exchange for RLCR 2413, Still Life with Cherry Pie)
Collection Mitchell Lichtenstein (by gift)
Leo Castelli Gallery (4 East 77th Street), New York, Roy Lichtenstein, February 10–March 3, 1962.
Bianchini Gallery, New York, The American Supermarket, October 6–November 7, 1964 (Bianchini Gallery 1964). Traveled to: Galleria il Segno, Rome, opened March 12, 1965; Galleria l’Elefante, Venice, Italy, May 1–19, 1965.
Museum of Art, Rhode Island School of Design, Providence, Rhode Island, Recent Still Life, February 23–April 4, 1966 (not in cat) (Robbins, D. 1966).
Parrish Art Museum, Southampton, New York, Roy Lichtenstein: Paintings, August 8–September 19, 1982.
Centro Cultural Arte Contemporáneo, Mexico City, Leo Castelli y sus artistas: XXX Años de Promocion del Arte Contemporaneo, June 25–October 18, 1987 (Centro Cultural Arte Contemporáneo 1987, no. 105 p. 150 color ill.).
Edith C. Blum Art Institute, Bard College, Annandale-on-Hudson, New York, Art What Thou Eat: Images of Food in American Art, September 2–November 18, 1990 (Weintraub 1990, p. 132 b/w ill, back cover color ill.). Traveled to: New-York Historical Society, New York, December 18, 1990–March 22, 1991.
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. 107 color ill.). Traveled to: Museum of Contemporary Art, Chicago, April 3–June 20, 1993; Whitney Museum of American Art, New York, July 9–October 10, 1993.
Schirn Kunsthalle, Frankfurt am Main, Germany, Shopping: A Century of Art and Consumer Culture, September 28–December 1, 2002 (Grunenberg and Hollein 2002, p. 176 color ill.). Traveled to: Tate Liverpool, Liverpool, United Kingdom, December 20, 2002–March 23, 2003; Andy Warhol Museum, Carnegie Museums of Pittsburgh, Pittsburgh, July 13–October 5, 2003 (as American Supermarket).
Morgan Library and Museum, New York, Roy Lichtenstein: The Black-and-White Drawings, 1961–1968, September 24, 2010–January 2, 2011 (only Vienna) (Dervaux 2010b, p. 207 color ill.). Traveled to: Albertina, Vienna, January 27–May 15, 2011 (as Roy Lichtenstein: Black & White, 1961–1968) (Dervaux 2011b, p. 207 color ill.).
Borsick, Helen. "Roy Lichtenstein Makes Splash As Pop Artist." Plain Dealer (Cleveland), April 28, 1963, p. 2G b/w ill. (installation view, 1962a New York Castelli).
Rosenblum, Robert. "Roy Lichtenstein and the 'Realist' Revolt/La rivolta 'realista' americana: Lichtenstein." Metro (Milan), no. 8 (May 1963), no. 13 p. 45 b/w ill.
Herzka, Dorothy. Pop Art One. New York: Publishing Institute of American Art, 1965, b/w ill.
Boatto, Alberto, and Giordano Falzoni, eds. Fantazaria (Rome). Special issue, Lichtenstein 1, no. 2 (July–August 1966), n.p. facing p. 6 b/w ill.
Waldman, Diane. Roy Lichtenstein. New York: Harry N. Abrams, 1971, no. 4 n.p. b/w ill.
Alloway, Lawrence. American Pop Art. New York: Whitney Museum of American Art, 1974. Exhibition catalogue (1974 New York Whitney), no. 40 n.p. facing p. 45 b/w ill. (installation view, 1964a New York Bianchini), [not exhibited].
Cowart, Jack. Roy Lichtenstein 1970–1980. New York: Hudson Hills Press in association with the St. Louis Art Museum, 1981. Exhibition catalogue (1981 St. Louis Art Museum), p. 44 b/w ill. [not exhibited].
Russell, John. "Seeing More Than Just Fun in Lichtenstein." New York Times, September 5, 1982, p. H17 b/w ill.
Cowart, Jack. Roy Lichtenstein 1970–1980. Translated from the English by Nicolas Hepp. Munich: Prestel Verlag, 1982. Exhibition catalogue (1981 St. Louis Art Museum), no. 31 p. 44 b/w ill. [not exhibited].
Cowart, Jack. Roy Lichtenstein 1970–1980. Translated from the English by Stefania Coppi. Florence: Electa, 1982. Exhibition catalogue (1981 St. Louis Art Museum), p. 32 b/w ill. [not exhibited].
Cowart, Jack. Roy Lichtenstein 1970–1980. Tokyo: Seibu Museum of Art, 1983. Exhibition catalogue (1981 St. Louis Art Museum), p. 40 b/w ill. [not exhibited].
Hendra, Tony. Brad '61: Portrait of the Artist As a Young Man. New York: Pantheon Books, 1993, p. 18 color ill.
Entry Updated September 18, 2023