(after), Roy Lichtenstein - Red Barn II - Silkscreen - 90x70 - Achenbach licensed print ** ORIGINAL POSTER 1989 **

Serigrafía after de Roy Liechtenstein (*)
Original poster, 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 printing with copyright and 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 folder, thus in perfect condition).
- Provenance: Private collection.

The work will be carefully handled and packed in a reinforced cardboard package. The shipment will be trackable 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 plundered 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: advertising, magazines, comics… and from the history of traditional art: Art Deco, Cubism, Abstract Expressionism (which he was involved with at the start of his career)…
Lichtenstein’s work is characterized by irony (something pop artists brag about, sometimes dressed up 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 masterful line work.
Lichtenstein started in the fashionable Abstract Expressionism, but soon joined the rest of the pop guerrilla to rebel against abstraction and use figurative imagery. Moreover, the more popular and mechanical the figure, the better.
Of course, in 1958 there was nothing more popular and mechanical than a comic, so Lichtenstein decided he would create commercially produced images.
That said… what seems to be done by a machine is drawn by hand.
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 disguises.
New York-born, Lichtenstein lived in this city, the capital of all that pop represents, and he would die there at 73, celebrated as an artist who sold paintings for more than 40 million euros.