Roy Lichtenstein (1923-1997)
Roy Lichtenstein (1923-1997)

Brushstroke Still Life with Lamp

Roy Lichtenstein (1923-1997)
Brushstroke Still Life with Lamp
signed, numbered and dated '8/24 Roy Lichtenstein '97' (on the right turnover edge); with printed signature, number, date and inscription 'SAFF AND COMPANY OXFORD MARYLAND RL97-012 © SAFF AND COMPANY /LICHTENSTEIN 1997' (on a label affixed to the reverse)
screenprint with hand-painted Magna on honeycomb-core aluminum panel in artist's frame
54 x 72½ x 1¾ in. (137.2 x 184.2 x 4.4 cm.)
Executed in 1997, this work is number eight from an edition of twenty-four, plus eight artist's proofs, one BAT, two SP, three PP, two presentation proofs, two Saff and two Company proofs and one archive copy
Bernard Jacobson Gallery, London.
Acquired from the above by the present owner.
Roy Lichtenstein's Last Still Life, exh. cat., Milan, Galleria Lawrence Rubin, 1998, no. 3 (another from the edition illustrated in colour, unpaged).
Roy Lichtenstein, exh. cat., New York, Lawrence Rubin Greenberg Van Doren Fine Art, 1999, no. 3 (another from the edition illustrated in colour, unpaged).
M. L. Corlett, The Prints of Roy Lichtenstein: A Catalogue raisonné 1948-1997, New York 2002, no. 308 (another from the edition illustrated in colour, p. 276).

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Beatriz Ordovas
Beatriz Ordovas

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Lot Essay

Brushstroke Still Life with Lamp forms part of Roy Lichtenstein's last series of still life prints. Completed in 1997, the work combines a background of familiar elements: Lichtenstein's stripes and Benday dots, with unique hand-painted brush strokes. Described as the 'obliterating brushstroke', the artist conceived of this idea in a dream; 'defacing or effacing' the surface of the image with his mark. In Brushstroke Still Life with Lamp, the flat assembly of printed furniture is washed with an assortment of colour, invading and obliterating the work's uniform authority.

The motif of the brushstroke, originated in Lichtenstein's art in 1965-1966, when the artist first parodied the Abstract Expressionist's concept of the artist's hand as conduit for the subconscious. In creating each brush stroke, the artist meticulously made and collaged paper stencils to the surface of the canvas, filling each with flowing paint. This mechanical method eschewed all romantic notions of the artist's gesture, yet created a dramatic and spontaneous appearance; a triumph of aesthetic duplicity. In his later works, Lichtenstein abandoned the iconic brushstroke, working extensively in the 1970s on his still life compositions of tables, chairs, lamps and interior paintings unadulterated by such brushstrokes. In Brushstroke Still Life with Lamp, Lichtenstein resurrects both of these iconic elements, combining his trademark of the Pop era to great effect.

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