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

Silk screen print after Roy Lichtenstein (*)
Original poster, reproduction of the work 'Red Barn II,' created by Roy Lichtenstein in 1969, which is part of the collection at Museum Ludwig Köln.
Published by Achenbach Art Edition, Düsseldorf.
Authorized printing with legal copyright and serial number.
Large Format.

Sheet dimensions: 70.5 x 90 cm
- Year: 1989
Condition: Excellent (this artwork has never been framed or exhibited, always kept in a professional art folder, and therefore remains in perfect condition).
Provenance: Private collection.

The item will be carefully handled and packaged in a reinforced cardboard box. The shipment will be certified with a tracking number.

The shipment will also include transport insurance for the final value of the artwork with full reimbursement in case of loss or damage, at no cost to the buyer.

The painter and sculptor who exploited comic material to turn it into museum material.
Roy Lichtenstein was one of the key figures of American pop art, and as such, he drew inspiration for his work from both popular art—advertisements, magazines, comics—and from the history of traditional art: Art Deco, Cubism, Abstract Expressionism (which he was involved with at the beginning of his career)...
Lichtenstein's work is characterized by its irony (something that pop artists boasted about, sometimes disguised as snobbery or superficiality), the use of Ben-Day dots (used in graphic arts), industrial colors, comic language (onomatopoeias, panels, narrative), and mastery of line.
Lichtenstein started in the fashionable abstract expressionism, but soon joined the rest of the pop guerrilla to rebel against the abstract and embrace 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... it is reproduced by hand what seems like something a machine did.
These 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 criticism and admiration, between mockery and respect, is typical of pop art, which cynically plays a masquerade.
Born a New Yorker, Lichtenstein lived in this city, the capital of everything that pop represents, and he died there at the age of 73, celebrated as an artist who sold paintings for more than 40 million euros.