Roy Lichtenstein turned to German Expressionism after a 1978 visit to the Robert Gore Rifkind Collection in Los Angeles, where discussions around printmaking helped shape what became known as his Expressionist series. Beginning in 1979, he explored Expressionist vocabulary in painting before translating it into prints. Unlike his earlier Pop works, these compositions largely abandon Ben-Day dots, reflecting a deliberate shift away from mechanical surface effects toward a more direct engagement with the carved line.
Work on the Expressionist print series began in winter 1980 at Gemini G.E.L., marking the workshop’s first major woodcut project. Using Baltic birch blocks cut across the grain, Lichtenstein hand-carved the lines while studio assistants cleared broader areas. The prints were produced at large scale on heavy paper using a lithography press, then embossed to restore surface texture. A small black-state edition was also issued for each image in 1981. Today, Roy Lichtenstein's Expressionist woodcuts are recognised for their technical ambition and distinctive position within his late print practice.
