(after), Roy Lichtenstein - Red Barn II - Silkscreen...

Serigraphy after Roy Lichtenstein (*) Original print, reproduction of the work “Red Barn II,” created by Roy Lichtenstein in 1969 and part of the Museum Ludwig Köln collection. Published by Achenbach Art Edition, Düsseldorf. Authorized print with copyright and a legal serial number. Large format. - Sheet dimensions: 70.5 x 90 cm - Year: 1989 - Condition: Excellent (this work has never been framed or exhibited, always kept in a professional art portfolio, and therefore preserved in perfect condition). - Provenance: Private collection. The work will be carefully handled and packaged in reinforced cardboard packaging. The shipment will be tracked with a tracking number. The shipment will also include transport insurance for the final value of the work with full reimbursement in case of loss or damage, at no cost to the buyer. (*) The painter and sculptor who exploited the comic to turn it into museum material. Roy Lichtenstein was one of the key figures of American pop, and as such drew inspiration for his work from popular art: commercial advertisements, magazines, comics…; as well as from the history of traditional art: Art Deco, cubism, abstract expressionism (which he was involved in at the beginning of his career)… Lichtenstein’s work is characterized by irony (this is something pop artists boasted about, sometimes masked by snobbery or superficiality…), the use of Ben-Day dots (used in graphic arts) and industrial colors, the language of comics (onomatopoeia, panels, narrative) and mastery of line. Lichtenstein began in the fashionable abstract expressionism, but soon joined the rest of the pop guerrilla to rebel against the abstract and use figuration. Moreover, the more popular and mechanical the figuration, the better. Of course, in 1958 there was nothing more popular and mechanical than a comic, so Lichtenstein decided he would create mass-produced commercial images. That said… what is reproduced is hand-made, which seems to be what a machine did. These images were faithful portraits of consumer society and mass culture, which can be either a critique of the contemporary world, an idealization, or a satire of Western capitalist society. That ambiguity between critique and admiration, between mockery and respect, is typical of pop art, which cynically plays at a masquerade. Born in New York, Lichtenstein lived in this city, the capital of all that pop represents, and he would die there at 73, having become recognized as an artist who sold paintings for more than 40 million euros.

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