Acrylic, oil, graphite pencil on canvas
68 x 80 in. (172.7 x 203.2 cm)
Signed and dated verso, upper right: rf Lichtenstein '64
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: Sinking Sun, 1964 (RLCR 966)
RLCR 966 (LC 176; RL 0234)
Sinking Sun
1964
Title Source
Castelli; RL Studio Card
Alternate title and source: Sunset, Sinking Sun (RL Register)
Media
Acrylic, oil, graphite pencil on canvas
Dimensions
68 x 80 in. (172.7 x 203.2 cm)
Inscriptions
Signed and dated verso, upper right: rf Lichtenstein '64
Stretcher: LC-176
Studio
36 West 26th Street, New York
Keyword
Landscape
Related Works
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Provenance
Dennis and Brooke Hopper, Los Angeles, October 1964 (via Leo Castelli Gallery, New York City; via Ferus Gallery, Los Angeles) [Brooke Hayward, Los Angeles, c. 1969]
Helman Collection, New York City, c. 1974
(Sotheby's, New York, May 10, 2006, sale N08201, lot 21)
Research pending
Exhibitions
Leo Castelli Gallery (4 East 77th Street), New York, Roy Lichtenstein: Landscapes, October 24–November 19, 1964 (Portable Press 1964).
Ferus Gallery, Los Angeles, Roy Lichtenstein, November 24–December 5, 1964.
National Museum of Modern Art, Tokyo, Two Decades of American Painting, October 15–November 27, 1966 (National Museum of Modern Art 1966). Traveled to: National Museum of Modern Art, Kyoto, Japan, December 10, 1966–January 22, 1967; Lalit Kala Academy, New Delhi, March 25–April 15, 1967 (Lalit Kala 1967); National Gallery of Victoria, Melbourne, Australia, June 6–July 8, 1967 (NGV and AGNSW 1967, no. 47 b/w ill.); Art Gallery of New South Wales, Sydney, July 17–August 20, 1967 (NGV and AGNSW 1967, no. 47 b/w ill.).
Art Gallery, University of California, Irvine, California, New York: The Second Breakthrough, 1959–1964, March 18–April 27, 1969 (Solomon, A. 1969a, no. 8 n.p. b/w ill.).
Solomon R. Guggenheim Museum, New York, Roy Lichtenstein, September 19–November 9, 1969 (only New York, Kansas City) (Waldman 1969, no. 36 p. 51 b/w ill.). Traveled to: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Mo., December 18, 1969–January 16, 1970; Museum of Contemporary Art, Chicago, Ill., February 7–March 22, 1970; Seattle Art Museum, Seattle, Wash., April 10–May 17, 1970; Columbus Gallery of Fine Arts, Columbus, Ohio, July 9–August 30, 1970.
BlumHelman Gallery, New York, Roy Lichtenstein: Pop Masterpieces, 1961–1964, May 5–June 6, 1987 (BlumHelman 1987, no. 11 color ill.).
Solomon R. Guggenheim Museum, New York, Roy Lichtenstein: A Retrospective, October 7, 1993–January 16, 1994 (not Columbus) (Waldman 1993b, no. 116 n.p. facing p. 131 color ill, n.p. color ill. [detail]). 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. 116 n.p. facing p. 131 color ill, n.p. color ill. [detail]); Deichtorhallen, Hamburg, Germany, February 8–April 30, 1995 (included early works) (Waldman 1994, no. 116 n.p. facing p. 131 color ill, n.p. color ill. [detail]); Palais des Beaux-Arts, Brussels, June 2–September 3, 1995 (included early works) (Waldman 1994, no. 116 n.p. facing p. 131 color ill, n.p. color ill. [detail]); Wexner Center for the Arts, Ohio State University, Columbus, Ohio, September 21, 1995–January 7, 1996 (abridged version) (Waldman 1994, no. 116 n.p. facing p. 131 color ill, n.p. color ill. [detail]).
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., Regarding Beauty: A View of the Late 20th Century, October 17, 1999–January 17, 2000 (Hirshhorn 1999, no. 36 p. 153 color ill, frontispiece color ill. [detail]). Traveled to: Haus der Kunst, Munich, February 11–April 30, 2000 (as Beauty Now: Die Schönheit in der Kunst am Ende des 20. Jahrhunderts) (Benezra 1999, no. 36 p. 153 color ill.).
Literature
Marmer, Nancy. "Los Angeles Letter." Art International 9, no. 1 (February 1965), p. 31 not ill. (as Colored Sunset).
Alfieri, Bruno. "L'avvenire dell'arte: Una nuova dimensione operativa/The Arts' Future: A New Operational Dimension." Metro (Milan), no. 9 (April 1965), p. 11 b/w ill. (installation view, 1964d New York Castelli).
Tono, Yoshiaki. "Two Decades of American Paintings: Birth and Death of Abstract Expressionism." Mizue (Tokyo), no. 741 (October 1966), n.p. color ill.
Waldman, Diane. Roy Lichtenstein. New York: Harry N. Abrams, 1971, no. 94 n.p. color ill.
Iida, Yoshikuni. "Roy Lichtenstein: Paradoxical pictures, or, critiquing critical pictures." Arts quarterly 6, no. 3, issue 22 (summer 1972), p. 91 b/w ill.
Coplans, John, ed. Roy Lichtenstein. New York: Praeger Publishers, 1972, n.p. preceding p. 44 b/w ill.
Novas, Himilce. "Roy Lichtenstein: Representante de hoy ante el mañana." Fascinación (Caracas, Venezuela) 2, no. 1 (1975 [?]), p. 37 color ill.
Dubreuil-Blondin, Nicole. La Fonction critique dans le Pop Art américain. Montreal: Presses de l'Université de Montréal, 1980, no. 58 n.p. b/w ill.
Dubreuil-Blondin, Nicole. "Roy Lichtenstein: L'atelier d'artiste ou l'auto-référence dans le pop." Parachute, no. 19 (Summer 1980), p. 17 ill.
Alloway, Lawrence. Roy Lichtenstein. New York: Abbeville Press, 1983, no. 50 p. 52 b/w ill.
Shinoda, Tazmi. "Roy Lichtenstein: On 'Mural with Blue Brushstroke'/ Lichtenstein's Mural: A Purgatory of ‘Merry-Go-Round.'" Mizue (Tokyo), no. 947 (Summer 1988), n.p. following p. 3 color ill.
Kodansha Ltd. Contemporary Great Masters: Roy Lichtenstein. Tokyo: Kodansha Ltd., 1992, no. 16 n.p. color ill.
Vernissage Köln. Special issue, Roy Lichtenstein in München, no. 9 (September 1994), pp. 6–7 color ill. (double spread).
Micucci, Dana (Photographs by Durston Saylor). "A Contemporary Eye." Architectural Digest 54, no. 11 (November 1997), p. 42 color ill.
Lobel, Michael. Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art. New Haven: Yale University Press, 2002, no. 74 p. 116 b/w ill.
Bader, Graham, ed. Roy Lichtenstein. October Files 7. Cambridge, Mass.: MIT Press, 2009, p. 5 b/w ill.
Mercurio, Gianni, ed. Lichtenstein: Kunst als Motiv. Cologne: DuMont, 2010. Exhibition catalogue (2010 Milan Triennale), n.p facing p. 31 color ill. (installation view, with artist), [not exhibited].
Mercurio, Gianni, ed. Roy Lichtenstein: Meditations on Art. Translated from the Italian by Michael Haggerty. Milan: Skira; distributed by Rizzoli, New York, 2010. Exhibition catalogue (2010 Milan Triennale), n.p facing p. 31 color ill. (installation view, with artist), [not exhibited].
Mercurio, Gianni, ed. Roy Lichtenstein: Meditations on Art. Milan: Skira Editore, 2010. Exhibition catalogue (2010 Milan Triennale), n.p facing p. 31 color ill. (installation view, with artist), [not exhibited].
Lévy Gorvy, London. Source and Stimulus: Polke, Lichtenstein, Laing. London: Lévy Gorvy, 2018. Exhibition catalogue (2018 London Lévy), n.p. facing p. 82 color ill. [not exhibited].

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