(after), Roy Lichtenstein - Red Barn II - Silkscreen - Achenbach licensed print

Serigraphy after Roy Lichtenstein (*)
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 legally numbered edition.
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 folder, thus 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 stripped the comic to turn it into museum material. Roy Lichtenstein was one of the key figures of American pop art and, as such, drew inspiration for his work from both popular art: commercial ads, magazines, comics…; and from the history of traditional art: Art Deco, Cubism, Abstract Expressionism (in which he was involved at the start of his career)…
Lichtenstein’s work is characterized by irony (something pop artists boasted about, sometimes disguised as 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 then-fashionable Abstract Expressionism, but soon joined the rest of the pop guerrilla to rebel against the abstract and use figurative art. Moreover, figurative art that is as popular and mechanical as possible.
Certainly in 1958 there was nothing more popular and mechanical than a comic, so Lichtenstein decided he would create images of mass-produced commercial products.
That said… what seems to have been done by a machine is hand-reproduced.
Those images were faithful portraits of consumer society and mass culture, which may or may not be 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 everything that pop represents, and he would die there at the age of 73, established as an artist who sold paintings for more than 40 million euros.