Acrylic, oil, graphite pencil on canvas
68 x 80 in. (172.7 x 203.2 cm)
Unknown if signed or dated
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: Little Big Painting, 1965 (RLCR 1106) Photo: Courtesy Whitney Museum of American Art
RLCR 1106 (LC 355; RL 0390)
Little Big Painting
1965
Title Source
RL Studio Card
Alternate title and source: Brushstrokes ("Little Big Painting") (Castelli)
Media
Acrylic, oil, graphite pencil on canvas
Dimensions
68 x 80 in. (172.7 x 203.2 cm)
Inscriptions
Unknown if signed or dated
Examination Notes

Verso inaccessible.

Photo: Courtesy Whitney Museum of American Art
Exhibitions
1965b New York Castelli
Leo Castelli Gallery (4 East 77th Street), New York, Roy Lichtenstein: Brushstrokes and Ceramics, November 20–December 11, 1965.
1966a New York Whitney
Whitney Museum of American Art, New York, Art of the United States: 1670–1966, September 27–November 27, 1966 (Goodrich 1966).
1967 Pasadena, Calif, Pasadena Art Museum
Pasadena Art Museum, Pasadena, California, Roy Lichtenstein, April 18–May 28, 1967 (Coplans 1967a, no. 34 p. 48 b/w ill.). Traveled to: Walker Art Center, Minneapolis, Minn., June 23–July 30, 1967.
1972 Houston CAM
Contemporary Arts Museum, Houston, Roy Lichtenstein, June 21–August 20, 1972 (Contemporary Arts Museum 1972, no. 3 p. 15 b/w ill.).
1973 Des Moines Art Center
Des Moines Art Center, Des Moines, Iowa, Twenty-Five Years of American Painting, 1948–1973, March 6–April 22, 1973 (Kozloff 1973, no. 22 n.p. b/w ill. [as Little Big Painting [Brush Strokes]]).
1973 Denver Art Museum
Denver Art Museum, Denver, American Painting and Sculpture from the Whitney Museum, May 22–July 15, 1973.
1976 Tokyo Seibu
Seibu Museum of Art, Tokyo, Three Decades of American Art Selected by the Whitney Museum, June 18–July 20, 1976 (Seibu Museum 1976, no. 33 front cover color ill.). Traveled to: Isetan Museum, Tokyo, September 23–October 11, 1976.
1978 New York Whitney
Whitney Museum of American Art, New York, Art About Art, July 19–September 24, 1978 (Lipman and Marshall, R. 1978, no. 13 n.p. color ill.). Traveled to: North Carolina Museum of Art, Raleigh, N.C., October 15–November 26, 1978; Frederick S. Wight Art Gallery, University of California, Los Angeles, Calif., December 17, 1978–February 11, 1979; Portland Art Museum, Portland, Ore., March 6–April 15, 1979.
1987a New York Castelli
Leo Castelli Gallery (142 Greene Street), New York, Leo Castelli 30th Anniversary: The First Fifteen Years, Part I, January 31–March 7, 1987.
1993 New York Guggenheim
Solomon R. Guggenheim Museum, New York, Roy Lichtenstein: A Retrospective, October 7, 1993–January 16, 1994 (not Brussels, Columbus) (Waldman 1993b, no. 131 n.p. facing p. 161 color ill.). 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. 131 n.p. facing p. 161 color ill.); Deichtorhallen, Hamburg, Germany, February 8–April 30, 1995 (included early works) (Waldman 1994, no. 131 n.p. facing p. 161 color ill.); Palais des Beaux-Arts, Brussels, June 2–September 3, 1995 (included early works) (Waldman 1994, no. 131 n.p. facing p. 161 color ill.); Wexner Center for the Arts, Ohio State University, Columbus, Ohio, September 21, 1995–January 7, 1996 (abridged version) (Waldman 1994, no. 131 n.p. facing p. 161 color ill.).
1995 San Jose Museum
San Jose Museum of Art, San Jose, California, American Art 1940–1965, Traditions Reconsidered: Selections from the Permanent Collection of the Whitney Museum of American Art, December 2, 1995–March 30, 1997 (Whitney Museum and San Jose Museum of Art 1995).
1998 Philadelphia PAFA
Pennsylvania Academy of the Fine Arts, Philadelphia, Pop Abstraction, February 21–April 19, 1998 (Sachs, Sid 1998, front cover color ill.).
1998 Riehen Fondation Beyeler
Fondation Beyeler, Riehen, Switzerland, Roy Lichtenstein, May 24–September 27, 1998 (Beyeler [Fondation] 1998, no. 26 p. 57 color ill.).
1999 New York Whitney
Whitney Museum of American Art, New York, The American Century: Art and Culture, 1900–2000 (Part II, 1950–2000), September 26, 1999–February 13, 2000 (Phillips, L. 1999).
2007 Rome Quirinale
Scuderie del Quirinale, Rome, Pop Art: 1956–1968, October 24, 2007–January 27, 2008 (Guadagnini 2007, no. 50 p. 177 color ill.).
2010 Milan Triennale
Triennale di Milano, Milan, Roy Lichtenstein: Meditations on Art, January 26–May 30, 2010 (Mercurio 2010c, p. 219 color ill.); (Mercurio 2010d, p. 219 color ill.). Traveled to: Museum Ludwig, Cologne, July 2–October 17, 2010 (as Roy Lichtenstein: Kunst als Motiv) (Mercurio 2010a, p. 219 color ill.).
2012 Chicago Art Institute
Art Institute of Chicago, Chicago, Roy Lichtenstein: A Retrospective, May 16–September 3, 2012 (Rondeau and Wagstaff, Sheena 2012, no. 48 n.p. color ill.). Traveled to: National Gallery of Art, Washington, D.C., October 14, 2012–January 13, 2013; Tate Modern, London, February 21–May 27, 2013 (as Lichtenstein: A Retrospective) (Dunne 2012, no. 40 p. 54 color ill.); Musée National d'Art Moderne, Centre National d'Art et de Culture Georges Pompidou, Paris, July 3–November 4, 2013 (as Roy Lichtenstein, revised and reorganized) (Dunne 2013, no. 40 p. 54 color ill.); (Pompidou 2013, p. 19 color ill.); (Morineau 2013a, no. 27 p. 131 color ill.).
Literature
Roberts, C. 1966
Roberts, Colette. "Lettre de New York." Aujourd'hui: Art et architecture 9, no. 52 (February 1966), p. 90 b/w ill.
Trotta 1966
Trotta, Geri (Photographs by Diane Arbus). "Not to Be Missed: The American Art Scene." Harper's Bazaar 99, no. 3056 (July 1966), p. 83 b/w ill.
Time 1967
"Painting: Kidding Everybody." Time 89, no. 25 (June 23, 1967), n.p. facing p. 72 color ill.
Russell, J. and Gablik 1969b
Russell, John, and Suzi Gablik, eds. Pop Art Redefined. London: Thames and Hudson, 1969. Exhibition catalogue (1969 London Hayward), no. 58 n.p. b/w ill. [not exhibited].
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. 31 n.p. b/w ill. (as Little Painting), [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. 31 n.p. following p. 29 b/w ill.
Burnham 1971b
Burnham, Jack. The Structure of Art. New York: George Braziller, 1971, no. 27 n.p. facing p. 121 b/w ill.
Waldman 1971b
Waldman, Diane. Roy Lichtenstein. New York: Harry N. Abrams, 1971, no. 141 n.p. color ill. (as Brushstrokes).
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. 28 p. 143 b/w ill.
Novas 1975
Novas, Himilce. "Roy Lichtenstein: Representante de hoy ante el mañana." Fascinación (Caracas, Venezuela) 2, no. 1 (1975 [?]), p. 37 color ill. (sideways).
Sutinen 1980
Sutinen, Paul. "Roy Lichtenstein." Willamette [Oregon] Fresh Weekly, March 4–10, 1980, p. 5 b/w ill.
Deitcher 1983
Deitcher, David. "Lichtenstein's Expressionist Takes." Art in America 71, no. 1 (January 1983), p. 88 color ill.
Brown University 1986
Department of Art, Brown University, Providence. Definitive Statements: American Art, 1964–66. Providence: Department of Art, Brown University, 1986. Exhibition catalogue (1986 Providence Brown), no. 20 p. 117 b/w ill. [not exhibited].
Mahsun 1987
Mahsun, Carol Anne Runyon. Pop Art and the Critics. Studies in the Fine Arts. Ann Arbor: UMI Research Press, 1987, no. 21 p. 108 b/w ill.
Schmahmann 1988a
Schmahmann, Brenda. "'Parody' and ‘Satire' in the Works of Roy Lichtenstein." South African Journal of Cultural and Art History 2, no. 2 (April 1988), no. 1 p. 131 b/w ill.
Berri 1990
Berri, Claude. Claude Berri recontre Leo Castelli. Edited by Ann Hindry. Paris: Renn, 1990, p. XXIX color ill.
DeSalvo and Schimmel 1992
DeSalvo, Donna, and Paul Schimmel, eds. Hand-Painted Pop: American Art in Transition, 1955–62. Los Angeles: Museum of Contemporary Art, Los Angeles; New York: Rizzoli, 1992. Exhibition catalogue (1992 Los Angeles MOCA), p. 207 color ill. [not exhibited].
Kodansha 1992
Kodansha Ltd. Contemporary Great Masters: Roy Lichtenstein. Tokyo: Kodansha Ltd., 1992, no. 69 p. 90 color ill.
Schipprack 1994
Lichtenstein, Roy, and Annette Schipprack. "Cowboys und Indianer." Focus, no. 42 (October 17, 1994), p. 122 color ill.
Madoff 1997
Madoff, Steven Henry, ed. Pop Art: A Critical History. Documents of Twentieth-Century Art. Berkeley: University of California Press, 1997, n.p. facing p. 54 color ill.
Whiting 1997
Whiting, Cécile. A Taste for Pop: Pop Art, Gender, and Consumer Culture. Cambridge, England: Cambridge University Press, 1997, no. 43 p. 127 b/w ill.
Whitney Museum 1999
Whitney Museum of American Art, New York. Pop Impact! From Johns to Warhol: Selections from the Whitney Museum of American Art. New York: Whitney Museum of American Art, 1999. Exhibition catalogue (1999b Cleveland CCCA), p. 5 color ill. [not exhibited].
Hendricks, N. 2000
Hendricks, Norine S. "Pop Goes the Artist: Roy Lichtenstein." Timeline (Columbus: Ohio Historical Society) 17, no. 5 (September–October 2000), p. 34 color ill.
Lobel 2002
Lobel, Michael. Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art. New Haven: Yale University Press, 2002, no. 100 p. 160 color ill.
Doris 2007
Doris, Sara Kathleen. Pop Art and the Contest over American Culture. Cambridge, United Kingdom: Cambridge University Press, 2007, no. 41 p. 219 b/w ill.
Morel 2013
Morel, Francis, ed. Connaissance des arts. Special issue, Roy Lichtenstein, no. 589 (July–August 2013), pp. 12–13 color ill. (double spread).

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