Oil, graphite pencil on canvas
54 x 54 in. (137.2 x 137.2 cm)
Signed and dated verso, lower left: rf Lichtenstein / '62
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: Masterpiece, 1962 (RLCR 711)
RLCR 711 (LC 44; RL 0083)
Masterpiece
1962
Title Source
Castelli; RL Register; RL Studio Card
Media
Oil, graphite pencil on canvas
Dimensions
54 x 54 in. (137.2 x 137.2 cm)
Inscriptions
Signed and dated verso, lower left: rf Lichtenstein / '62
Remarks

This work's media line has often been listed as "Oil and Magna on canvas." Per a Castelli label on the verso, only oil was used. For further info on media lines for paintings from c. 1962–63, see the Guide to the Catalogue: 4.7. Classification: Painting.

Studio
66 South Adelaide Avenue, Highland Park, New Jersey
Keyword
Cartoons
Research Images
Masterpiece, 1962 (RLCR 711). Detail
Detail
Provenance
Mr. and Mrs. Melvin Hirsch, Beverly Hills, Calif., 1962 (via Leo Castelli Gallery, New York City)
Sperone Gallery, New York City, c. 1973 (via Leo Castelli Gallery, New York City)
Leo Castelli Gallery, New York City, May 1975 (in exchange for fourteen unknown works)
Mr. and Mrs. Albrecht Saalfied, Concord, Mass., May 1976 [Anges Gund Collection, New York, 1981]
Steven A. Cohen, Connecticut, 2017 (via Acquavella Contemporary Art, Inc., New York City)
Exhibitions
1962 Pasadena, Calif., Pasadena Art Museum
Pasadena Art Museum, Pasadena, California, New Painting of Common Objects, September 25–October 19, 1962.
1963 Los Angeles Ferus
Ferus Gallery, Los Angeles, Roy Lichtenstein, April 1–20, 1963.
1966 San Francisco Museum of Art
San Francisco Museum of Art, San Francisco, Six Artists From New York, April 15–May 22, 1966.
1967 Pasadena, Calif., Pasadena Art Museum
Pasadena Art Museum, Pasadena, California, Roy Lichtenstein, April 18–May 28, 1967 (Coplans 1967a, no. 9 p. 24 b/w ill.). Traveled to: Walker Art Center, Minneapolis, Minn., June 23–July 30, 1967.
1977 New York Whitney
Whitney Museum of American Art, New York, 20th-Century American Art from Friends' Collections, July 27–September 27, 1977 (Whitney Museum 1977).
1978 New York Whitney
Whitney Museum of American Art, New York, Art About Art, July 19–September 24, 1978 (only New York) (Lipman and Marshall, R. 1978, n.p. following p. 49 b/w 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.
1982 Cleveland Museum
Cleveland Museum of Art, Cleveland, The Agnes Gund Saalfield Collection, June 15–August 31, 1982.
1984 New York Whitney
Whitney Museum of American Art, New York, Blam! The Explosion of Pop, Minimalism, and Performance, 1958–1964, September 20–December 2, 1984 (Haskell 1984, no. 119 p. 86 b/w ill.).
1985 Sydney AGNSW
Art Gallery of New South Wales, Sydney, Pop Art 1955–70, February 27–April 14, 1985 (Geldzahler 1985, p. 82 color ill.). Traveled to: Queensland Art Gallery, Brisbane, Australia, April 30–June 2, 1985; National Gallery of Victoria, Melbourne, Australia, June 25–August 11, 1985.
1987 New York BlumHelman
BlumHelman Gallery, New York, Roy Lichtenstein: Pop Masterpieces, 1961–1964, May 5–June 6, 1987 (BlumHelman 1987, no. 4 color ill.).
1991 London Royal Academy
Royal Academy of Arts, London, Pop Art, September 13–December 15, 1991 (only London) (Livingstone 1991a, no. 150 p. 97 color ill.). Traveled to: Museum Ludwig, Cologne, January 23–April 19, 1992 (Livingstone 1992c); Museo Nacional Centro de Arte Reina Sofía, Madrid, June 16–September 14, 1992 (Livingstone 1992a); Musée des Beaux-Arts de Montréal, Montreal, October 23, 1992–January 24, 1993 (revised and re-organized with a selection of prints) (Livingstone 1992b).
1993 New York Guggenheim
Solomon R. Guggenheim Museum, New York, Roy Lichtenstein: A Retrospective, October 7, 1993–January 16, 1994 (only New York) (Waldman 1993b, no. 53 n.p. facing p. 55 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. 53 n.p. facing p. 55 color ill.); Deichtorhallen, Hamburg, Germany, February 8–April 30, 1995 (included early works) (Waldman 1994, no. 53 n.p. facing p. 55 color ill.); Palais des Beaux-Arts, Brussels, June 2–September 3, 1995 (included early works) (Waldman 1994, no. 53 n.p. facing p. 55 color ill.); Wexner Center for the Arts, Ohio State University, Columbus, Ohio, September 21, 1995–January 7, 1996 (abridged version) (Waldman 1994, no. 53 n.p. facing p. 55 color ill.).
1996 New York Knoedler
M. Knoedler and Co, New York, The Rise of the Art World in America: Knoedler at 150, December 5, 1996–January 12, 1997 (not in cat.) (Knoedler 1996).
2000 New York Knoedler
M. Knoedler and Co, New York, The Collector as Patron in the Twentieth Century, May 2–July 31, 2000 (Sandler and McIntosh 2000, n.p. color ill.).
2003 Humlebaek Louisiana
Louisiana Museum of Art, Humlebaek, Denmark, Roy Lichtenstein: All about Art, August 22, 2003–January 18, 2004 (only Humlebaek, London) (Holm, Tøjner, and Caiger-Smith 2003a). Traveled to: Hayward Gallery, London, February 26–May 16, 2004 (as Roy Lichtenstein); Museo Nacional Centro de Arte Reina Sofía, Madrid, June 24–September 27, 2004 (as Roy Lichtenstein) (Holm, Tøjner, and Caiger-Smith 2003b); San Francisco Museum of Modern Art, San Francisco, Calif., October 20, 2004–February 22, 2005 (as Roy Lichtenstein) (Holm, Tøjner, and Caiger-Smith 2003b).
2008a New York Gagosian
Gagosian Gallery (980 Madison Avenue), New York, Lichtenstein: Girls, May 12–June 28, 2008 (Gagosian, New York 2008, n.p. facing p. 26 color ill.).
2012 Chicago Art Institute
Art Institute of Chicago, Chicago, Roy Lichtenstein: A Retrospective, May 16–September 3, 2012 (not Paris) (Rondeau and Wagstaff, Sheena 2012, no. 29 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); 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); (Pompidou 2013); (Morineau 2013a).
Literature
Life 1962
"Something New Is Cooking." Life 52, no. 24 (June 15, 1962), p. 120 b/w ill. (with artist).
Portable Press 1964
Portable Press. Roy Lichtenstein. New York: Leo Castelli, 1964. Exhibition brochure (1964d New York Castelli), b/w ill. (with artist), [not exhibited].
Compton 1970
Compton, Michael. Pop Art. London: Hamlyn Publishing Group, 1970, no. 89 p. 92 b/w ill.
Waldman 1971b
Waldman, Diane. Roy Lichtenstein. New York: Harry N. Abrams, 1971, no. 37 n.p. b/w ill.
Coplans 1972a
Coplans, John, ed. Roy Lichtenstein. New York: Praeger Publishers, 1972, no. 23 n.np. b/w ill.
Bouniort 1980
Bouniort, Jeanne. Le pop'art: le pop'art anglais et le pop'art américain. Actualité des arts plastiques 49. Paris: Centre National de Documentation Pédagogique, 1980, no. 4 color ill. (slide foldout).
Alloway 1981
Alloway, Lawrence. "Reassessing Roy Lichtenstein." Portfolio (New York) 3, no. 4 (July–August 1981), p. 50 b/w ill.
Boatto 1983
Boatto, Alberto. Grande Opere: Pop Art. Rome: Editori Laterza, 1983, no. 14 n.p. color ill.
De Coppet and Jones 1984
De Coppet, Laura, and Alan Jones, eds. The Art Dealers. New York: Clarkson N. Potter, 1984, p. 137 b/w ill.
Welish 1984
Welish, Marjorie (Photographs by Oberto Gili). "Where Art Comes First." House and Garden 156, no. 8 (August 1984), p. 121 color ill. (in collector's home).
Busche 1988
Busche, Ernst A. Roy Lichtenstein: Das Frühwerk, 1942–1960. Berlin: Gebr. Mann Verlag, 1988, fig. 132 p. 233 b/w ill.
Hendrickson 1988
Hendrickson, Janis. Roy Lichtenstein. Cologne: Benedikt Taschen, 1988, p. 14 color ill.
Solomon, H. and Anderson, A. 1988
Solomon, Holly and Alexandra Anderson (Photographs by John Hall). Living with Art. New York: Rizzoli, 1988, p. 129 color ill. (in collector's home).
Busche 1989
Busche, Ernst A. Roy Lichtenstein: Pop-Paintings, 1961–1969. Schirmer's visuelle Bibliothek 6. Munich: Schirmer/Mosel, 1989, no. 13 n.p. color ill.
Osterwold 1989a
Osterwold, Tilman. Pop Art. Cologne: Benedikt Taschen, 1989, n.p. facing p. 92 color ill.
Berri 1990
Berri, Claude. Claude Berri recontre Leo Castelli. Edited by Ann Hindry. Paris: Renn, 1990, p. 45 b/w ill.
RA Magazine 1991
RA Magazine. Special issue, Pop, no. 32 (Fall 1991), p. 53 color ill.
Nemeczek 1991
Nemeczek, Alfred. "Pop art: als die szene noch brodelte." Art: Das Kunstmagazin, no. 10 (October 1991), p. 38 color ill.
Hindry 1991a
Hindry, Ann, ed. Artstudio. Special issue, Roy Lichtenstein, no. 20 (Spring 1991), p. 39 b/w ill.
Hahn 1992
Hahn, Otto. "Chapter 3: Pop Art and Happenings." In Avant-garde: théorie et provocations, by Otto Hahn. Nîmes: Éditions Jacqueline Chambon, 1992, no. 3 n.p. facing p. 47 b/w ill.
Hendra 1993
Hendra, Tony. Brad '61: Portrait of the Artist As a Young Man. New York: Pantheon Books, 1993, p. 15 color ill., p. 92 color ill.
Vernissage Köln 1994
Vernissage Köln. Special issue, Roy Lichtenstein in München, no. 9 (September 1994), p. 64 color ill.
Litt 1995
Litt, Steven. "OSU Shows Off Alumnus." Plain Dealer (Cleveland), October 22, 1995, p. K5 b/w ill.
Jancène 1997
Jancène, France. "Les mots dans la peinture pop américaine: Jasper Johns, Andy Warhol et Roy Lichtenstein." PhD diss., Université de Paris X, Nanterre, 1997, p. 262 ill.
Lobel 2002
Lobel, Michael. Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art. New Haven: Yale University Press, 2002, no. 79 p. 128 color ill., back cover color ill.
Louisiana revy 2003
Louisiana revy (Humlebaek, Denmark). Special issue, Roy Lichtenstein 44, no. 1 (August 2003), no. 11 n.p. color ill.
Collins, B. 2003
Collins, Bradford R. "Modern Romance: Lichtenstein's Comic Book Paintings." American Art (Smithsonian American Art Museum) 17, no. 2 (Summer 2003), no. 16 p. 76 b/w ill.
Taylor, John 2004
Taylor, John Russell. "Dotting the Eyes in the Strip Show." Times (London), February 25, 2004, p. 13 color ill.
Naivin 2006
Naivin, Bertrand. "Corps abstrait ou la représentation du corps dans le Pop Art américain à travers l'oeuvre d'Andy Warhol, Roy Lichtenstein, Tom Wesselmann, Allen Jones et Mel Ramos." PhD diss., Université de Paris VIII, Paris, 2006, p. 157 color ill.
Doris 2007
Doris, Sara Kathleen. Pop Art and the Contest over American Culture. Cambridge, United Kingdom: Cambridge University Press, 2007, front cover color ill.
Goldberg, I. 2007
Goldberg, Itzhak. "Roy Lichtenstein: La peinture en bulles." Beaux arts magazine (Boulogne), no. 277 (July 2007), p. 66 color ill.
Princeton 2007
Princeton University Art Museum. Pop Art: Contemporary Perspectives. Princeton, N.J.: Princeton University Art Museum, 2007. Exhibition catalogue (2007 Princeton Art Museum), p. 56 b/w ill. [not exhibited].
Castelli 2010
Leo Castelli, New York. Roy Lichtenstein: Mostly Men. New York: Leo Castelli, 2010. Exhibition catalogue (2010 New York Castelli), p. 5 color ill. [not exhibited].
Lander 2012
Lander, Tobias. Coca Cola und Co.: die Dingwelt der Pop Art, und die Möglichkeiten der ikonologischen Interpretation. Petersburg: Michael Imhof Verlag, 2012, no. 37 p. 35 color ill.
Silberman 2012
Silberman, Robert. "Roy Lichtenstein: Chicago, Washington, London and Paris." Burlington Magazine 154, no. 1315 (October 2012), no. 87 p. 737 color ill.
Mednicov 2024
Mednicov, Melissa L. "Roy Lichtenstein: The Missing Jewish Pop Artist." In Jewish American Identity and Erasure in Pop Art, by Melissa L. Mednicov. New York: Routledge, 2024, no. 2.1 p. 29 b/w ill.

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We reserve the right to remove or disable access to any Content claimed to be infringing, at any time at our sole discretion, without notice or liability.  In appropriate circumstances, we will also terminate users of the Site who are repeat infringers.

If you believe that Content has been used in a way that constitutes copyright infringement, please provide our designated agent, whose contact information is listed below, with a written notice containing all of the following information (“DMCA Notice”):

  • A physical or electronic signature of a person authorized to act on behalf of the owner of an exclusive right that is allegedly infringed;
  • Identification of the copyrighted work claimed to have been infringed;
  • Identification of the Content that is claimed to be infringing or to be the subject of infringing activity, and information reasonably sufficient to permit us to locate such Content on our Site (such as the URL to each page on the Site containing allegedly infringing material);
  • Information reasonably sufficient to permit us to contact you, such as an address, telephone number, and, if available, an email address;
  • a statement that you have a good faith belief that use of the Content in the manner complained of is not authorized by the copyright owner, its agent, or the law; and
  • a statement that the information in your notice is accurate and, under penalty of perjury, that you are authorized to act on behalf of the owner of an exclusive right that is allegedly infringed.

Our agent designated to receive DMCA Notices may be contacted as follows:

[email protected]

Changes to the Terms

RLF may change these Terms from time to time by posting an updated version on this web page, or, if we determine that it is appropriate, we may provide other notice to you.  Your continued use of the Site after we post updated Terms means that you accept and agree to such Terms.  We recommend checking back on this web page regularly if you use the Site.

Termination

We reserve the right to terminate the Site, these Terms, and any Content, and your access to the Site and/or the Content, at any time without notice, for any reason.  The “Reliance on Information Posted,” “Copyright & Trademark,” “Inclusions in Catalogue Raisonné (or Lack Thereof),” “Additional Disclaimers,” “Limitation of Liability,” “Indemnification,” and “Governing Law” sections of these Terms (along with this provision and any other provision that by its terms contemplates survival) survive any termination of these Terms.

Governing Law

These Terms are the complete agreement between you and RLF regarding your use of the Site and is governed by applicable federal laws and the laws of the State of New York applicable to agreements made and completely performed there.  Any dispute arising out of or in connection with these Terms shall be subject to the exclusive jurisdiction and venue of the United States District Court for the Southern District of New York located in the Borough of Manhattan in the City of New York or, only if such court does not have subject-matter jurisdiction, the Supreme Court of the State of New York, New York County.

You irrevocably agree to bring any claim or dispute relating to your use of the Site and these Terms exclusively in the state and federal courts located in New York, to submit to the exclusive jurisdiction of those courts, and to waive any jurisdictional, venue, inconvenient forum, or other objections to those courts.  

Other

Section titles and headings are for convenience only and have no legal or contractual effect.  The failure of RLF to exercise or enforce any right or provision of the Terms shall not constitute a waiver of such right or provision.  If a court of competent jurisdiction determines that any provision of these Terms is unenforceable for any reason, then that provision will be deleted and the remaining provisions of these Terms will be enforceable to the fullest extent permitted by law.

Questions

Please email [email protected] with any questions you may have about these Terms.

Accept Terms & Conditions