Acrylic, oil, graphite pencil on canvas
98 1/8 x 128 3/4 in. (249.2 x 327 cm)
Signed and dated verso, lower left: rf Lichtenstein / '74
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: Artist's Studio "The Dance", 1974 (RLCR 2252)
RLCR 2252 (LC 679; RL 0593)
Artist's Studio "The Dance"
1974
Title Source
RL Studio Card
Alternate titles and sources: Artist's Studio – "The Dance" (Castelli); Artist's Studio – The Dance (RL Studio Photograph); Artists Studio IV (RL Studio Photograph)
Media
Acrylic, oil, graphite pencil on canvas
Dimensions
98 1/8 x 128 3/4 in. (249.2 x 327 cm)
Inscriptions
Signed and dated verso, lower left: rf Lichtenstein / '74
Stretcher: RL 679 [twice]
Related Works
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Provenance
Mr. and Mrs. S.I. Newhouse, Jr., New York City, November 1974 (via Leo Castelli Gallery, New York City)
The Museum of Modern Art, New York, Gift of Mr. and Mrs. S.I. Newhouse, Jr., October 1990. 362.1990
Exhibitions
1974d New York Castelli
Leo Castelli Gallery (4 East 77th Street), New York, Roy Lichtenstein: The Artist's Studio, November 2–30, 1974.
1981 St. Louis Art Museum
Saint Louis Art Museum, St. Louis, Roy Lichtenstein 1970–1980, May 8–June 28, 1981 (only St. Louis, New York) (Cowart 1981b, frontispiece color ill. [foldout; as Artist's Studio, the "Dance"]). Traveled to: Seattle Art Museum, Seattle, Wash., July 16–September 6, 1981; Whitney Museum of American Art, New York, N.Y., September 22–November 29, 1981; Fort Worth Art Museum, Fort Worth, Tex., December 16, 1981–February 7, 1982; Josef-Haubrich-Kunsthalle, Cologne, March 10–April 25, 1982 (with an additional exhibit on the Kunsthalle's lower floor showing Lichtenstein artworks from the Ludwig Collection) (Cowart 1982a, frontispiece color ill. [foldout]); Orsanmichele, Florence, Italy, May–August 1982 (Cowart 1982b, p. 18 b/w ill.); Musée des Arts Décoratifs, Paris, September 21–December 19, 1982 (Cowart 1982b, p. 18 b/w ill.); Fundación Juan March, Madrid, January 14–March 20, 1983 (Cowart 1982b, p. 18 b/w ill.); Ohara Museum of Art, Chuo Kurashiki City, Okayama Prefecture, Japan, April 26–May 22, 1983 (Cowart 1982b, p. 18 b/w ill.); Seibu Museum of Art, Seibu Takanawa, Tokyo, June 1–July 13, 1983 (Cowart 1983).
1993 New York Guggenheim
Solomon R. Guggenheim Museum, New York, Roy Lichtenstein: A Retrospective, October 7, 1993–January 16, 1994 (only New York, Los Angeles, Montreal) (Waldman 1993b, no. 170 n.p. following p. 219 color ill. [double spread]). 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. 170 n.p. following p. 219 color ill. [double spread]); Deichtorhallen, Hamburg, Germany, February 8–April 30, 1995 (included early works) (Waldman 1994, no. 170 n.p. following p. 219 color ill. [double spread]); Palais des Beaux-Arts, Brussels, June 2–September 3, 1995 (included early works) (Waldman 1994, no. 170 n.p. following p. 219 color ill. [double spread]); Wexner Center for the Arts, Ohio State University, Columbus, Ohio, September 21, 1995–January 7, 1996 (abridged version) (Waldman 1994, no. 170 n.p. following p. 219 color ill. [double spread]).
1998 Riehen Fondation Beyeler
Fondation Beyeler, Riehen, Switzerland, Roy Lichtenstein, May 24–September 27, 1998 (Beyeler [Fondation] 1998, no. 43 p. 74 color ill. [foldout]).
2010 Milan Triennale
Triennale di Milano, Milan, Roy Lichtenstein: Meditations on Art, January 26–May 30, 2010 (only Cologne) (Mercurio 2010c, p. 128 color ill. [double spread]); (Mercurio 2010d, p. 128 color ill. [double spread]). Traveled to: Museum Ludwig, Cologne, July 2–October 17, 2010 (as Roy Lichtenstein: Kunst als Motiv) (Mercurio 2010a, p. 128 color ill. [double spread]).
2012 Chicago Art Institute
Art Institute of Chicago, Chicago, Roy Lichtenstein: A Retrospective, May 16–September 3, 2012 (Rondeau and Wagstaff, Sheena 2012, no. 106 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. 54 p. 69 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. 54 p. 69 color ill.); (Pompidou 2013, p. 33 color ill.); (Morineau 2013a, no. 46 p. 147 color ill.).
Literature
Barrio-Garay 1974
Barrio-Garay, José-Luis. "Crónica de Nueva York: El estado del ‘Pop' a finales de la temporada pasada." Goya (Madrid), no. 123 (November–December 1974), no. 5 p. 169 b/w ill.
Ellenzweig 1974
Ellenzweig, Allen. "Roy Lichtenstein." Arts Magazine (New York) 49, no. 3 (November 1974), p. 22 color ill.
Hahn 1974
Hahn, Otto. "Roy Lichtenstein." Art Press, no. 15 (December 1974–January 1975), p. 5 b/w ill.
Mellow 1974
Mellow, James R. "A Pop-Art Star Finds New Inspiration in Matisse." New York Times, November 10, 1974, b/w ill.
Schuyler 1974
Schuyler, James. "Roy Lichtenstein at Castelli." Art in America 62, no. 6 (November–December 1974), p. 117 color ill.
Inui 1975
Inui, Yoshiaki. "Pertaining to Writing—From One-Man Shows in New York." Mizue (Tokyo) 1, no. 838 (January 1975), p. 103 b/w ill.
Lebensztejn 1975
Lichtenstein, Roy, and Jean-Claude Lebensztejn. "Eight Statements [on Matisse]." Art in America 63, no. 4 (July–August 1975), p. 67 b/w ill.
Smith, R. 1975
Smith, Roberta. "New York: Roy Lichtenstein, Castelli Gallery Uptown." Artforum 13, no. 6 (February 1975), p. 63 b/w ill.
Rosing 1975a
Rosing, Larry. "Matisse and Contemporary Art, 1970–1975." Arts Magazine (New York) 49, no. 9 (May 1975), p. 69 b/w ill.
Lipman and Marshall, R. 1978
Lipman, Jean, and Richard Marshall. Art About Art. New York: Whitney Museum of American Art, 1978. Exhibition catalogue (1978 New York Whitney), p. 108 b/w ill. [not exhibited].
Dubreuil-Blondin 1980a
Dubreuil-Blondin, Nicole. La Fonction critique dans le Pop Art américain. Montreal: Presses de l'Université de Montréal, 1980, no. 66 n.p. b/w ill.
Dubreuil-Blondin 1980b
Dubreuil-Blondin, Nicole. "Roy Lichtenstein: L'atelier d'artiste ou l'auto-référence dans le pop." Parachute, no. 19 (Summer 1980), p. 16 ill.
Russell, J. 1981
Russell, John. The Meanings of Modern Art. New York: Museum of Modern Art and Harper and Row, 1981, p. 377 color ill.
Cowart 1981a
Cowart, Jack. "Roy Lichtenstein: 1970–1980. Beyond Pop." American Artist (New York) 45, no. 468 (July 1981), pp. 42–43 color ill. (double spread).
Perrelli 1982
Perrelli, Gianni. "Un po' di Picasso e un po' di Paperino." L'Europeo (Milan) vol. 38, no. 22 (May 31, 1982), pp. 126–127 color ill. (double spread).
Alloway 1983b
Alloway, Lawrence. Roy Lichtenstein. New York: Abbeville Press, 1983, no. 89 p. 89 color ill. (flopped).
Hindry 1991a
Hindry, Ann, ed. Artstudio. Special issue, Roy Lichtenstein, no. 20 (Spring 1991), p. 89 color ill.
Kodansha 1992
Kodansha Ltd. Contemporary Great Masters: Roy Lichtenstein. Tokyo: Kodansha Ltd., 1992, no. 33 n.p. color ill. (as Artist's Studio, the Dance; double spread).
Hughes, R. 1993
Hughes, Robert. "The Image Duplicator." Time 142, no. 19 (November 8, 1993), p. 84 color ill.
Richardson, E. 1993
Richardson, Elizabeth. "Those Lichtenstein Women." Harper's Bazaar 126, no. 3383 (October 1993), no. 10 p. 235 color ill.
Smith, R. 1994c
Smith, Roberta. "Roy Lichtenstein." Atelier (Tokyo), no. 803 (1994), p. 17 color ill. (as Dancers; installation view, 1993 New York Guggenheim).
Serafini 2000
Serafini, Giuliano. Art e Dossier. Special issue, Lichtenstein (Milan), no. 152 (January 2000), p. 41 color ill.
Bader 2009
Bader, Graham, ed. Roy Lichtenstein. October Files 7. Cambridge, Mass.: MIT Press, 2009, p. 50 b/w ill.
Daverio 2011
Daverio, Philippe. Roy Lichtenstein. Milan: Hachette Fascioli, 2011, p. 27 color ill.
Faton-Boyancé 2013
Faton-Boyancé, Jeanne, ed. L'objet d'art. Special issue, Roy Lichtenstein exposition au Centre Pompidou, no. 69 (July 2013), pp. 46–47 color ill. (double spread).
Morel 2013
Morel, Francis, ed. Connaissance des arts. Special issue, Roy Lichtenstein, no. 589 (July–August 2013), pp. 24–25 color ill. (double spread).
Hindry 2013c
Hindry, Ann (Photographs by Laurie Lambrecht). "Roy Lichtenstein: L'art mis au point." Beaux arts magazine (Levallois-Perret), no. 349 (July 2013), p. 76 color ill.
Cauman et al. 2017
Cauman, John, Gail Stavitsky, William C. Agee et al. Matisse and American Art. Montclair, N.J.: Montclair Art Museum, 2017. Exhibition catalogue (2017 Montclair Art Museum), fig. 87 p. 161 color ill. [not exhibited].
Gartenfeld et al. 2017
Gartenfeld, Alex, Gean Moreno, and Stephanie Seidel, eds. The Everywhere Studio. Munich: Prestel; London and New York: DelMonico Books, 2017. Exhibition catalogue (2017 Miami ICA), no. 70 p. 39 color ill. [not exhibited].
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