Still Life With Crystal Bowl; serigraph and lithograph on BFK Rives roll paper, 1976; Signed, dated and numbered 13/45 rf Lichtenstein ’76 in pencil, lower right; Framed using an acid-free mat, a black wood exterior frame and conservation clear UV protective glass.
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Roy Lichtenstein's "Still Life With Crystal Bowl" is just a wonderful work in which to write about, as it seems to sum up a survey of Lichtenstein's oeuvre. The image that is first noticed in the work is the entablature in the upper left. Lichtenstein started using entablatures as subject matter in 1971, first with paintings and then with prints. In this work, the large entablature serves as background with a second background fragment in the upper right and a small fragment in black and white with benday dots lower center; that has been placed for compositional balance. Picasso and Matisse, the two titans of 20th century European painting, are addressed head on with this print. The trompe-l'oeil wood graining is a direct Picasso synthetic cubism reference and can be found on the lower half of the violin and on both the table tops of the small cabinet lower right and the large table lower left. The violin as subject matter, as well as the cubist deconstruction of both the wine bottle and the crystal bowl, are direct appropriations of Picasso techniques. The tilt of the small cabinet with it's top being placed on a diagonal vertical plane references the flatness of Matisse compositions. The entire print is wonderfully balanced in form, line, and color and exemplifies the best in Lichtenstein and his references to art history.
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