Entablature I, 1976: Screenprint by Roy Lichtenstein

  • Roy Lichtenstein Entablature I (1976), horizontal composition with embossed metallic architectural band and graphic decorative motifs.
    Entablature I, 1976
    Screenprint and collage with embossing on BFK Rives paper, sheet: 74.1 x 114 cm
    Edition of 16; plus 9 AP, 1 RTP, 1 PPI, 1 A
    ©The Estate of Roy Lichtenstein
    BACK TO: ENTABLATURE SERIES
     
    Entablature I, 1976, presents a carefully ordered sequence of horizontal bands that translate architectural ornament into a stylised, industrial language. At the top, a soft band of pale blue is followed by a black and white patterned register, leading into a bright yellow strip and a rope-like motif that reinforces the sense of decorative repetition. Beneath this, a wide strip of beige introduces a calm, neutral field before another rope pattern gives way to a striking, textured gold band. The composition is anchored by a bold red line at the base, creating a structured progression of colour, pattern, and form that echoes the layered construction of classical entablatures.
     
    Lichtenstein’s focus here is not just on image, but on surface and material. The textured gold section, achieved through embossing and collage, contrasts with the flatness of the printed areas, creating a dynamic interplay between illusion and physical relief. By breaking down architectural detail into repeatable visual units, he emphasises the relationship between decoration and industrial production. The work reflects his broader interest in how style is shaped by systems of fabrication, transforming traditional ornament into a precise, mechanised composition.

  • "Pop Art looks out into the world. It doesn't look like a painting of something, it looks like the thing itself." 

     

    - Roy Lichtenstein

    The Entablature series (1974–76) developed from Roy Lichtenstein’s photographs of architectural details on New York buildings, which he used as the basis for both paintings and prints. Working closely with Tyler Graphics, he translated these motifs into highly technical prints, incorporating embossing, collage, and metallic surfaces to emphasise texture and fabrication. The series reflects his interest in how industrial processes reshape traditional ideas of style and decoration, turning classical architectural elements into precise, machine-like compositions.