BULL HEAD II, 1973: Lithograph, screenprint and linecut on paper

  • Bull Head II, 1973, lithograph on paper by Roy Lichtenstein
    Bull Head II, 1973
    Lithograph, screenprint, and linecut on Arjomari paper, sheet: 63.4 x 83.7 cm
    Edition of 100; plus 11 AP, 1 RTP, 1 PPII, 3 GEL, 1 C
    ©The Estate of Roy Lichtenstein
    BACK TO: BULL HEAD SERIES

     

    Roy Lichtenstein’s Bull Head II, 1973, is the second work in the Bull Head series and shows the image of a bull becoming increasingly simplified through geometric and graphic forms. The once recognisable head is reduced to a series of bold shapes, with the main structure resembling a triangular form. The bull’s eye appears as a simple outlined circle, while the horn on the left is rendered as a flat shape defined by a black contour, with an irregular black form beneath it. The background is divided into bright colour fields, including a vivid yellow section to the left and a green shape above the head, from which two groups of three black prongs extend. To the right of the bull, abstract geometric elements fill the composition, reinforcing the gradual movement away from representation

    .

    Bull Head II forms part of Lichtenstein’s exploration of visual reduction and abstraction during the early 1970s. Across the Bull Head and Bull Profile series, the artist examined how a familiar subject could be progressively simplified into graphic components while remaining recognisable. Produced using a combination of lithograph, screenprint, and linecut on Arjomari paper, the print reflects Lichtenstein’s interest in layering traditional and mechanical printmaking processes.

  • "Everybody knows that abstract art can be art, and most people know that they may not like it, even if they understand there's another purpose to it." 

     

    - Roy Lichtenstein

    Lichtenstein explores form by progressively breaking down the image of a bull into increasingly simplified visual elements. Beginning with a recognisable subject, he reduces the animal’s features into basic geometric shapes such as circles, triangles, and flat contours. This process of visual reduction strips away naturalistic detail and emphasises the structural components that define the figure. By isolating and rearranging these simplified forms, Lichtenstein demonstrates how a complex image can still remain identifiable even when reduced to its most fundamental graphic elements.