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Maker(s):Lichtenstein, Roy; Leo Castelli Gallery, New York (Publisher)
Culture:American (1923-1997)
Date Made:1965
Materials:Screenprint on paper
Measurements:Mat: 30 1/8 in x 35 1/2 in; 76.5 cm x 90.2 cm; Sheet: 22 15/16 in x 28 7/8 in; 58.3 cm x 73.3 cm; Image: 22 1/8 in x 28 7/16 in; 56.2 cm x 72.2 cm
Narrative Inscription:  SIGNATURE/EDITION: front, lwr. r. (graphite): rf Lichtenstein 26/280
Accession Number:  UM 1966.13
Credit Line:Purchased with Art Acquision Funds ©Estate of Roy Lichtenstein
Museum Collection:  University Museum of Contemporary Art at UMASS Amherst

Currently on view

The depiction of a loose brushstroke and some small paint drips in yellow with black outlines in the rough shape of a "W" on a background of blue dots.

Label Text:
In 1965-6 Lichtenstein made a series of paintings depicting enlarged brushstrokes. Ironically, the motif was taken from a printed source, the comic book story entitled The Painting, printed in Strange Suspense Stories in October 1964. Here Lichtenstein used it to make a direct comment on the elevated content and loaded brushwork of Abstract Expressionism. The brushstroke, as the token of the artist's personal expression, is depersonalised. The motif is screenprinted onto paper in a manner usually associated with advertising or publishing to the effect that it seems banal and everyday. - Tate, London, 2008

Chiron Press printed Lichtenstein’s very first screen print, Brushstroke, in 1965. The artist was working on a series of brushstroke paintings as a satirical response to the emotionally laden gestural paintings of Abstract Expressionism. But Lichtenstein was also interested in drawing a picture of a brushstroke that looked as though it had been rendered by a commercial artist. Since screen printing was a commercial process never intended for Fine Art, Brushstroke was a perfect graphic expression for Lichtenstein. Artnews "Chiron Press—The 1960s Press That Gave Birth to Pop Art Prints," Deborah Ripley, August 21, 2013

movement; Ben Day dots; abstract

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