Acrylic, oil, graphite pencil on canvas (four panels)
<span class="gray"><i>Large Interior</i> Panel:</span> 137 x 367 13/16 in. (348 x 934.2 cm)<div class="div_addlDim"><span class="gray"><i>Reflections</i> Panel 1:</span> 111 1/4 x 79 3/4 in. (282.6 x 202.6 cm)</div><div class="div_addlDim"><span class="gray"><i>Reflections</i> Panel 2:</span> 111 1/4 x 88 3/4 in. (282.6 x 225.4 cm)</div><div class="div_addlDim"><span class="gray"><i>Reflections</i> Panel 3:</span> 111 1/4 x 79 3/4 in. (282.6 x 202.6 cm)</div>
Each panel signed and dated verso: rf Lichtenstein '93
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: Large Interior with Three Reflections, 1993 (RLCR 4218)  Large Interior Panel
Large Interior Panel
Artwork: Large Interior with Three Reflections, 1993 (RLCR 4218)  Reflections Panel 1
Artwork: Large Interior with Three Reflections, 1993 (RLCR 4218)  Reflections Panel 1
Artwork: Large Interior with Three Reflections, 1993 (RLCR 4218)  Reflections Panel 2
Artwork: Large Interior with Three Reflections, 1993 (RLCR 4218)  Reflections Panel 3
RLCR 4218 (LC 1150, LC 1151, LC 1152, LC 1153; RL 5328.1-4; formerly RL 1649, 1682, 1683, 1684; formerly RLCR 4218.1-4)
Large Interior with Three Reflections
1993
Title Source
Castelli
Media
Acrylic, oil, graphite pencil on canvas (four panels)
One large panel (three canvas panels) installed across a room from three smaller panels (each one canvas panel).
Dimensions
Large Interior Panel: 137 x 367 13/16 in. (348 x 934.2 cm)
Reflections Panel 1: 111 1/4 x 79 3/4 in. (282.6 x 202.6 cm)
Reflections Panel 2: 111 1/4 x 88 3/4 in. (282.6 x 225.4 cm)
Reflections Panel 3: 111 1/4 x 79 3/4 in. (282.6 x 202.6 cm)
Inscriptions
Each panel signed and dated verso: rf Lichtenstein '93
Examination Notes

Versos inaccessible.

Remarks

Signature and date information per current owner.

This position-specific four part artwork was a commission dictated by a board room space. Elements of a large mural are reflected in reverse, overlaid with illusionistic reflections, by three panels across the room. The authors regard the four panels as one work, presenting the integrity of the object with all dependent parts in a single entry. 

Keyword
Commission
Related Works
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Provenance
Private collection, September 1993 (via Leo Castelli Gallery, New York City) (by commission)
Exhibitions
Solomon R. Guggenheim Museum, New York, Roy Lichtenstein: A Retrospective, October 7, 1993–January 16, 1994 (only New York) (Waldman 1993b). 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); Deichtorhallen, Hamburg, Germany, February 8–April 30, 1995 (included early works) (Waldman 1994); Palais des Beaux-Arts, Brussels, June 2–September 3, 1995 (included early works) (Waldman 1994); Wexner Center for the Arts, Ohio State University, Columbus, Ohio, September 21, 1995–January 7, 1996 (abridged version) (Waldman 1994).
Museum of Contemporary Art, Chicago, Roy Lichtenstein: Interiors, July 24–October 10, 1999 (MCA, Chicago 1999, no. 40 n.p. following p. 50 color ill. [Large Interior panel; foldout], n.p. facing p. 56 color ill. [detail], n.p. facing p. 58 color ill. [detail], n.p. facing p. 60 color ill. [detail]).
Literature
Richardson, Elizabeth. "Those Lichtenstein Women." Harper's Bazaar 126, no. 3383 (October 1993), p. 234 color ill. (Reflections panel 1 and Large Interior panel; in studio), p. 237 color ill. (Large Interior panel; detail with artist).
Wallach, Amei. "Vrooming into Art History." Newsday (Long Island), October 3, 1993, FanFare, front cover color ill. (Large Interior panel, with artist).
Lichtenstein, Roy, and Bunte (Photographs by Bob Adelman). "Die Aktie Kunst." Bunte (Munich), no. 41 (October 6, 1994), pp. 56–57 color ill. (Large Interior panel; with artist in studio).
Kalina, Richard. "Reflected Narratives." Art in America 82, no. 5 (May 1994), pp. 80–81 color ill. (Large Interior panel, double spread, in studio).
Smith, Roberta. "Roy Lichtenstein." Atelier (Tokyo), no. 803 (1994), pp. 26–27 color ill. (Reflections panels 1–3, erroneously captioned as RLCR 4217.1; installation view, 1993 New York Guggenheim), pp. 30–31 color ill. (Large Interior panel, erroneously captioned as RLCR 4217.1; double spread; installation view, 1993 New York Guggenheim).
Instituto Nacional de Bellas Artes, Mexico City. Roy Lichtenstein. Mexico City: Instituto Nacional de Bellas Artes and Landucci Editores, 1998. Exhibition catalogue (1998 Mexico City Museo del Palacio), p. 15 color ill. (Large Interior panel), p. 17 color ill. (Reflections panels 1–3), n.p. facing p. 13 color ill. (detail, Reflections panel 3), [not exhibited].
Kunstforum Wien. Roy Lichtenstein. Edited by Ingried Brugger and Florian Steininger. Vienna: Kunstforum Wien; Wolfratshausen: Edition Minerva Hermann Farnung, 2003. Exhibition catalogue (2003 Vienna Kunstforum), p. 147 b/w ill. (Large Interior panel; in progress), [not exhibited].
Phillips, Lisa. Roy Lichtenstein: Desenhos: Vida animada / Drawings: Animated Life. Translated by Izabel Burbridge and Stephen Berg. São Paulo: Instituto Tomie Ohtake, 2005. Exhibition catalogue (2005 São Paulo Ohtake), p. 87 color ill. (Large Interior panel; in progress), [not exhibited].
Adelman, Bob, and William John Kennedy. I Shot Warhol, Wesselmann, Lichtenstein, Rosenquist, and Indiana: Photographs by Bob Adelman and William John Kennedy. Boca Raton: Boca Raton Museum of Art, 2008. Exhibition catalogue, p. 65 color ill. (Large Interior panel; detail, with artist), [not exhibited].
Gagosian Gallery, New York, and Roy Lichtenstein Foundation. Roy Lichtenstein: Greene Street Mural. New York: Gagosian Gallery, 2015. Exhibition catalogue (2015b New York Gagosian), fig. 58 n.p. facing p. 167 color ill., fig. 62 p. 167 color ill. (in studio), [not exhibited].

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