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© mumok

Modular Painting with Four Panels #2

  • Translated title
    Modulares Bild aus vier Teilen #2
  • Artist
    Lichtenstein, Roy
  • Year of Creation
    1969
  • Dimensions
    Frame height: 249 cm ; Frame width: 249 cm ; Frame depth: 5.5 cm ; Object height: 244 cm ; Object width: 244 cm
  • Material
    oil paint ; Magna ; canvas [textile material]
  • Technique
    oil paintings
  • Object Description
    Oil, magna on canvas
  • Object Category
    painting
  • Object Name
    painting [visual work]
  • Publication
    Brugger, Ingried : Roy Lichtenstein
    Neuburger, Susanne: Hyper Real
    Mercurio, Gianni: Roy Lichtenstein : Kunst als Motiv ; [Museum Ludwig, Köln, 2.7. - 3.10.2010]
  • Inventory Number
    ÖL-Stg 103/0
  • Accession Date
    1981
  • Credit Line
    mumok - Museum moderner Kunst Stiftung Ludwig Wien, Leihgabe der Österreichischen Ludwig-Stiftung
  • Reproduction Right
    Bildrecht, Wien
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Description
  • As matter of factly as Roy Lichtenstein employs comic strips and commercials for his paintings so he appropriates the most popular paintings and styles in the history of art. To him, they are a readily available part of the banal mass culture which does not make a distinction between high and popular mass culture any more. In "Modular Painting with Four Panels" Lichtenstein refers to the glorification of rationality in architecture and design in the Thirties, he once called “somehow blindly geometrical.” “The Thirties preference for logic had a somewhat absurd touch. In my work, I like to relate the Thirties to rational art of today. What is done today has a certain irony, however. One knows it is not common any more to be rational. Art déco, the mass style of the Thirties, experienced a revival at the end of the Sixties in the U.S. and shaped Lichtenstein’s immediate environment in New York. "Modular Painting with Four Panels" illustrates how Lichtenstein transfers style elements of Art deco to his screen system of points derived from printing. He is interested in tracing formal similarities but also differences. The graphical simplification and standardization of forms correspond a large square consisting of four smaller square paintings each repeating the same interplay of curves, arches, and diagonals.