BULL HEAD III, 1973: Print from the Bull Head series

  • Bull Head III, 1973, is a lithograph and screenprint on paper with shades of blue, yellow and red,
    Bull Head III, 1973
    Lithograph, screenprint, and linecut on Arjomari paper, Sheet: 63.5 x 83.7 cm
    Edition of 100; plus 10 AP, 1 RTP, 1 PPII, 3 GEL, 1 C
    ©The Estate of Roy Lichtenstein
    BACK TO: BULL HEAD SERIES
     
    Roy Lichtenstein’s Bull Head III, 1973, marks the point at which the bull motif becomes almost entirely abstract. Only fragments of the original subject remain recognisable, most notably the horn at the upper left, which sits against a bright yellow background. A bold black line cuts through the centre of the composition, intersected by a blue and white striped rectangle that runs vertically through the image. To the right of this form sits a simple yellow circle, while the far right of the composition is filled with red, blue, and black geometric shapes arranged against a pale blue ground. Through these graphic elements, the image shifts from representation toward a composition dominated by colour, line, and form.
     
    Bull Head III belongs to Lichtenstein’s Bull Profile series of 1973, in which the artist explored the progressive simplification of a familiar subject. Across the series, the bull’s features are gradually reduced to basic geometric structures, demonstrating how an image can remain legible even when its naturalistic details are stripped away. Produced using a combination of lithograph, screenprint, and linecut on Arjomari paper, the work reflects Lichtenstein’s interest in layering different printmaking techniques to achieve bold colour fields and sharp graphic contrasts.
  • " Organised perception is what art is all about." 

     
    - Roy Lichtenstein
    Roy Lichtenstein investigates how far a figurative image can be simplified before it loses its recognisable identity. By progressively reducing the bull’s features into basic shapes, lines, and colour fields, he strips the subject down to its essential visual components. Elements such as the horn, eye, or outline act as minimal cues that allow the viewer to still perceive the animal, even as the image becomes increasingly abstract.