Roy Lichtenstein - Modern Head No 2 (From the Modern Head Series, 1970)
Original Lithograph and Line Cut with embossing, 1970, on handmade Waterleaf paper, signed and dated in pencil lower right. With Publishers Blindstamp lower right, Stamped on verso, lower left: Gemini GEL/Los Angeles, Calif). Workshop number on verso in pencil, lower left (RL70-245)
Printed by : Gemini GEL Los Angeles
Published by: Gemini GEL Los Angeles
Edition: 100 - There were also 7 Apps. 1 RTP, 1 PPI, 3 GEL, 1 C,
Size: 50 x 29.5 cms (Sheet size); 19.65 x 11.65 Inches)
Reference: Mary Lee Corlett: “The prints of Roy Lichtenstein, A catalogue raisonne 1948 - 1993” Number 92 (page 112)
PCN 1 (September-October 1970) 87; Gemini catalogue Raisonne No 243
Note: This was made in 2 colours, in 2 runs, from 1 aluminium and 1 zinc plate. The yellow (lithograph). The black: (Line cut; from zinc, embossed during printing)
Lichtenstein’s collaboration with Gemini started in 1969 with his Haystack series and went on to consist of more than 70 different editions. Ken Tyler, the Master Printer, encouraged the artist to experiment with different production methods such as embossing, die-cutting and engraved printed surfaces.
The Modern Head Series (1970) was one of Roy Lichtenstein’s signal endeavours in the early mature period of his artistic career. In the mid-1960s, he moved away from taking direct inspiration for his imagery from sources such as comic books and product packaging, toward abstract painting inflected by references to Cubism, Constructivism, and Art Deco design. Lichtenstein was deeply taken by Art Deco (or Machine Age) aesthetics, which he facetiously called “Cubism for the home.”
Lichtenstein remarked about this series: “ What interested me was - “what in the world does a modern head could be about” - I mean to make a man look like a machine”. The prototype was a group of Constructivist heads by Alexei von Jawlensky which had been on view at the Pasadena Art Museum in 1968 in a show entitled “Serial Imagery”
This was made as a collaboration between Kenneth Tyler (Project Supervision) and George Page (Edition Printing).
Public Collections: de Young/Fine Arts Museum of San Francisco