Roy Lichtenstein - Nude in the Woods


Original Woodcut with embossing on Arches Cover paper, ion 7 colours, in 8 runs, from 6 9-ply Baltic birch woodblocks, 1980, signed and dated by the artist in pencil, lower right Blind Stamp, Lower right Copywrite symbol and G E L Chop. Stamped on verso ;

lower left (Copywrite Gemini G.E.L Lost Angeles) Workshop number on verso in pencil, lower left, beneath stamp. Sheet with deckled edges as issued.

Printed by : Gemini GEL Los Angeles

Published by: Gemini GEL Los Angeles

Edition: 50

Size: Sheet sjze: 101 x 90 ½ cms (39 ¾” x 35 ⅝); Image size: 84.3 x 81.3 cms (33 3/16” x 32”)

Reference: Mary Lee Corlett: “The prints of Roy Lichtenstein, A catalogue raisonne 1948 - 1993” Number 174 (page 166)

Gemini catalogue Raisonne No 882

Note: This is from the”Expressionist Woodcut Series”. The artists interest in the German Expressionist theme was inspired by his visit in 1978 to the Robert Gore Rifkind Collection of German Expressionist graphic art in Los Angeles. Lichtenstein worked on a series of 7 prints with Gemini G E L in 1980. It was their first major Woodcut project. Baltic Birch was chosen for its hardness and Lichtenstein cut all of the lines and the Gemini staff cleared broader areas of the blocks. Nude In The Woods introduces the concept of nudes to Lichtenstein’s repertoire of iconography. It indicates the beginning of a topical investigation that will become central for his artistic oeuvre, culminating in his 1994 series, entitled “Nudes” The colour scheme of Nude In The Woods is light blue, forest green, dark blue and graphite. A naked female figure, reminiscent of Picasso’s Les Demoiselles d'Avignon, stands outstretched in the middle of the composition. Her right arm reaches beyond the frame and a blue slanted rectangle cuts into her left cheek. Narrowly placed and flatly applied diagonal lines criss cross the figure’s chest, as an extension of her background. She emerges from the woods in an act of defiance, indicated by the artist through her body language and facial expression. Lichtenstein highlights her hostility towards the observer, perhaps in order to comment on the objectifying nature of nudes throughout art history.

A small black-state edition was also printed (Corlett 186)

Provenance: Thorden Wetterling Galleries, Stockholm, Sweden(Their label verso)

Public Collections: National Gallery of Art, New York -

Saint Louis Art Museum -