Green Face, 1989: Print by Roy Lichtenstein from his Brushstroke Figure series

  • Green Face, 1989, is a print on paper by artist Roy Lichtenstein
    Green Face, 1989
    Lithograph, waxtype, woodcut, and screenprint on 638-g/m² cold-pressed Saunders Waterford paper, sheet:149.7 x 104.1 cm (irregular)
    Edition of 60; plus 1 BAT, 2 PP, 2 Presentation Proofs, 1 NGA archive proof, 1 Graphicstudio Proof, 1 USFP, 2 SP, 8 AP
    ©The Estate of Roy Lichtenstein
    BACK TO: BRUSHSTROKE FIGURE SERIES
     
    Roy Lichtenstein’s Green Face, 1989, is a bold work from the Brushstroke Figures series, where the artist constructs a human figure entirely from expressive painterly marks. At the centre of the composition sits a pale yellow circular form layered with grey brushstrokes, above which a light blue face emerges. Two dark green brushstrokes frame the head, while small black strokes form the eyes, and an orange mark defines the mouth. The body is suggested through a large dark grey brushstroke, accented with layered black and yellow gestures, while a vivid red wavy stroke anchors the figure at the base. Through these graphic elements, Lichtenstein transforms the traditional portrait into a dynamic arrangement of colour, line and abstract brushwork.
     
    Executed in lithograph, waxtype, woodcut and screenprint on heavy Saunders Waterford paper, Green Face demonstrates the technical complexity of Lichtenstein’s late printmaking. Published by Waddington Graphics, London, and Graphicstudio at the University of South Florida, Tampa, the print was issued in a limited edition of 60 with additional proofs. By combining multiple print processes, Lichtenstein recreates the energy and texture of painted brushstrokes while maintaining the precision and clarity that define his Pop Art print practice.
  • All my art is in some way about other art, even if the other art is cartoons.

     

    - Roy Lichtenstein

    Roy Lichtenstein frequently referenced artistic movements in his work, reinterpreting them through the graphic language of Pop Art. In several series, including his Brushstroke Figures, Lichtenstein drew inspiration from Surrealism, a movement known for its dreamlike imagery and unexpected juxtapositions. By constructing figures from exaggerated brushstrokes and abstract forms, he created compositions that feel both playful and slightly uncanny, echoing the surrealist idea of transforming familiar subjects into something psychologically or visually strange.