Landscape 6
Landscape 6
Signed Print
Roy Lichtenstein
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AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
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Medium: Screenprint
Edition size: 100
Year: 1967
Size: H 33cm x W 41cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2020 | Sotheby's New York | United States | |||
| October 2019 | Freeman's | United States | |||
| October 2018 | Christie's New York | United States | |||
| February 2018 | Christie's New York | United States | |||
| June 2016 | Sotheby's Paris | France |
Meaning & Analysis
Roy Lichtenstein's artistic practice has always been fuelled by a simultaneous yearning for innovation and retrospection. Shortly after establishing himself as a trailblazer of Pop Art, the artist turned his attention to the conventions of landscape painting. He worked on his Landscapes, Moonscapes and Seascapes for over three decades. As part of this extensive project, Lichtenstein completed several autonomous portfolios.
Ten Landscapes of 1967 constitute a masterful transformation of landscape imagery. The ten-part suite presents a collection of fictitious nature scenes, condensed into purely associative forms. Despite their simple layout, however, the prints in this grouping have a potent visual impact. They conjure unrealistic terrains and wastelands, similar to the absurdist dreamscapes of Lichtenstein’s Surrealist series.
Landscape 6 shows a black and white canvas split in two by a bold horizon line. The upper half captures a pale turquoise swirling sky set against similarly hued rippling water below. Plastic Rowlux sheets are applied in this print to mimic the shimmer of natural light. The synthetic fabric produces prismatic spatial interplays across the work’s surface, invoking a sense of movement. Lichtenstein’s quest to create optical illusions using experimental materials continued throughout his career. For instance, he pursued comparable plays on perception in his intricate Mirrors and later Water Lilies.
