Acrylic, oil, graphite pencil on canvas
78 1/8 x 67 1/8 in. (198.5 x 170.5 cm) (approx.)
Signed and dated verso, upper right: rf Lichtenstein / '62; inscribed stretcher: MAGNA + OIL
Classification: painting

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

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.

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

Canvas
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. 

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. 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 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." 

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: Forget It! Forget Me!, 1962 (RLCR 691)
RLCR 691 (LC 84; RL 0113)
Forget It! Forget Me!
1962
Title Source
RL Studio Card
Alternate title and source: Forget It (Castelli; RL Register)
Media
Acrylic, oil, graphite pencil on canvas
Dimensions
78 1/8 x 67 1/8 in. (198.5 x 170.5 cm) (approx.)
Inscriptions
Signed and dated verso, upper right: rf Lichtenstein / '62; inscribed stretcher: MAGNA + OIL
Stretcher: # 84
Examination Notes

Verso partially inaccessible.

Keyword
Cartoons
Exhibitions
Kootz Gallery, New York, Recent Acquisitions: An Exhibition of the Poses Institute of Fine Arts, Brandeis University, the Gevirtz-Mnuchin Collection and Related Gifts, March 26–30, 1963 (Poses Institute 1963, no. 17 b/w ill.). Traveled to: Rose Art Museum, Brandeis University, Waltham, Mass., May 3–23, 1963.
Munson-Williams-Proctor Institute Museum of Art, Utica, New York, New Directions in American Painting, December 1, 1963–January 5, 1964 (Hunter, S. 1963, no. 26 b/w ill.). Traveled to: Isaac Delgado Museum of Art, New Orleans, La., February 7–March 8, 1964; Atlanta Art Association, Atlanta, Ga., March 18–April 22, 1964; J. B. Speed Art Museum, Louisville, Ky., May 4–June 7, 1964; Art Museum, Indiana University, Bloomington, Ind., June 22–September 20, 1964; Washington University, St. Louis, Mo., October 5–30, 1964; Detroit Institute of Arts, Detroit, Mich., November 10–December 6, 1964.
Worcester Art Museum, Worcester, Massachusetts, The New American Realism, February 18–April 4, 1965 (Carey 1965, b/w ill.).
Museum of Art, Rhode Island School of Design, Providence, Rhode Island, Exchange Exhibition, Exhibition Exchange: From the Collection of Rose Art Museum, Brandeis University, February 15–March 31, 1967 (RISD 1967, no. 55 n.p. b/w ill.).
Scudder Gallery, Paul Creative Arts Center, University of New Hampshire, Durham, New Hampshire, The Rose Art Museum Collection, Brandeis University at New Hampshire, April 14–May 5, 1969 (Scudder Art Gallery 1969, no. 22 b/w ill.).
Currier Gallery of Art, Manchester, New Hampshire, Exhibition of American Paintings of the 1960s from the Rose Art Museum, Brandeis University, September 14–October 8, 1972.
Mead Art Museum, Amherst College, Amherst, Massachusetts, Twenty from Brandeis, November 27–December 18, 1972.
National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., America As Art, April 30–October 3, 1976 (Taylor, Joshua 1976, n.p. facing p. 296 b/w ill.).
Salander O'Reilly Galleries, New York, Selections from the Rose Art Museum, April 6–30, 1983.
Art Museum, Florida International University, Miami, Postwar Paintings from Brandeis University, January 16–March 13, 1987 (Belz and Goldberg, B. 1987, no. 16 p. 29 color ill, front cover color ill. [cropped]). Traveled to: University Gallery, University of Florida, Gainesville, Fla., March 29–May 24, 1987; Tucson Museum of Art, Tucson, Ariz., September 13–November 8, 1987; Palm Springs Desert Museum, Palm Springs, Calif., January 17–March 13, 1988; Scottsdale Center for the Arts, Scottsdale, Ariz., April 15–June 12, 1988.
Royal Academy of Arts, London, Pop Art, September 13–December 15, 1991 (only Montreal) (Livingstone 1991a). Traveled to: Museum Ludwig, Cologne, January 23–April 19, 1992 (Livingstone 1992c); Museo Nacional Centro de Arte Reina Sofía, Madrid, June 16–September 14, 1992 (Livingstone 1992a); Musée des Beaux-Arts de Montréal, Montreal, October 23, 1992–January 24, 1993 (revised and re-organized with a selection of prints) (Livingstone 1992b, no. 101 p. 85 color ill.).
Solomon R. Guggenheim Museum, New York, Roy Lichtenstein: A Retrospective, October 7, 1993–January 16, 1994 (not Columbus) (Waldman 1993b, no. 54 n.p. facing p. 57). 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. 54 n.p. facing p. 57); Deichtorhallen, Hamburg, Germany, February 8–April 30, 1995 (included early works) (Waldman 1994, no. 54 n.p. facing p. 57); Palais des Beaux-Arts, Brussels, June 2–September 3, 1995 (included early works) (Waldman 1994, no. 54 n.p. facing p. 57); Wexner Center for the Arts, Ohio State University, Columbus, Ohio, September 21, 1995–January 7, 1996 (abridged version) (Waldman 1994, no. 54 n.p. facing p. 57).
Rose Art Museum, Brandeis University, Waltham, Massachusetts, A Defining Generation: Then and Now, 1961 and 2001, September 29–December 9, 2001 (Ketner and Hunter, S. 2001, p. 29 color ill.).
Contemporary Arts Museum, Houston, Splat Boom Pow! The Influence of Cartoons in Contemporary Art, April 12–June 29, 2003 (Cassel 2003, no. 13 p. 64 color ill.).
Louisiana Museum of Art, Humlebaek, Denmark, Roy Lichtenstein: All about Art, August 22, 2003–January 18, 2004 (not Humlebaek) (Holm, Tøjner, and Caiger-Smith 2003a, no. 9b. n.p. color 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. 9b. n.p. color 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. 9b. n.p. color ill.).
Gagosian Gallery (980 Madison Avenue), New York, Lichtenstein: Girls, May 12–June 28, 2008 (Gagosian, New York 2008, p. 29 color ill.).
Literature
Johnson, Meredith. Lovers in Art. New York: Portland House, 1991, p. 147 color ill.
Bell, Celina. "The Jazz Age and a Pop Sage: Two Modern Painters Evoke the Spirit of Their Times." Macleans (Montreal) 107, no. 29 (July 18, 1994), p. 51 b/w ill.
Smith, Roberta. "The Painter Who Adored Women." New York Times, June 11, 2008, p. E5 color ill.

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