13

Roy Lichtenstein

1923-1997

"Mirror #3" from the "Mirror Series," 1972

Linecut and screenprint in colors with embossing on Arjomari paper
Edition: 24/80 (there were also 10 artist's proofs)
Signed, dated, and numbered in pencil in the lower margin, at right: rf Lichtenstein; Gemini G.E.L, prntr./ pub., and with their blindstamps in the lower margin, at right; with the Gemini G.E.L. ink stamp and work number in pencil, both verso: RL72-433
Image: 21" Dia; Sheet: 28" H x 28" W

  • Provenance: Gemini G.E.L., Los Angeles, CA
    The Marmor Family Collection, acquired from the above, August 9, 1972
  • Literature: Corlett 108; Gemini 384; NGA Gemini CR 31.37; RLCR 2034
  • Notes: Roy Lichtenstein's exploration of artistic form oscillates between intricacy and austerity, with his "Mirror" print series, created between 1969 and 1972, epitomizing the latter. Preceding these works, Lichtenstein had already reached geometric complexity with his modern works, rooted in Art Deco ornamentation. However, the "Mirror" series departs from this compartmentalized aesthetic, offering a unified imagery with a basic architectural reference shared with Lichtenstein's earlier works.

    The holistic approach evident in the "Mirror" series is foreshadowed by Lichtenstein's earlier studies of isolated artifacts, such as an Electric Cord (1961) or a Durlidum (1964), characterized by their centralized placement and defined by unwavering black outlines. These works deviate from traditional still life painting, focusing more on the individual object itself rather than on relationships between multiple objects, aligning with George Maciunas' concept of "monomorphic" art.

    Mirrors hold a rich iconographical history in art, symbolizing vanity or serving as aids in representing unseen aspects of the human form. Lichtenstein, however, dismisses these conventional interpretations, choosing instead to explore the unpaintable aspect of mirrors—the play of reflections. Employing the conventions of comic strips and advertisements, Lichtenstein meticulously captures the artificiality of mirrors, utilizing dots to indicate smoothness, parallel hatching to imply reflections, and little jumps to denote beveled edges. These studies of highlights, tonal gradients, and blips of color create a captivating game of references, freezing fleeting moments as decisively as his earlier explosive paintings.

    In the "Mirror" prints, created between 1969 and 1972, Lichtenstein presents mirrors frontally, head-on, highlighting the absence of reflections and prompting viewers to contemplate the conceptual presence of the depicted objects. By transcending traditional iconography and embracing the artificiality of representation, Lichtenstein's "Mirror" series invites viewers to explore the boundaries of perception and visual phenomena, offering a unique perspective on the interplay between art and reality.


    This lot is accompanied by a copy of the sales invoice and the original print documentation, both from Gemini G.E.L.
  • Condition: Overall good condition. Full margins and the colors fresh. The sheet is frame floating, hinged to the back mat in two places at the verso of the upper margin edge.

    Framed under Plexiglas: 30.25" H x 30.25" W x 1.5" D


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