Imperfect 67 5/8" x 91 1/2", 1988: Signed print by Roy Lichtenstein

  • Imperfect 67 5/8" x 91 1/2", 1988 is a print by Lichtenstein depicting bright colours and a variety of patterns

    Imperfect 67 5/8" x 91 1/2", 1988

    Woodcut, screenprint, and collage on 3-ply Supra 100 paper, sheet: 171.8 x 232.4 cm

    Edition of 45; plus 14 AP, 1 RTP, 1 PPII, 3 GEL, 1 C, 6 SP

    ©The Estate of Roy Lichtenstein

    BACK TO: IMPERFECT SERIES
     
    Roy Lichtenstein’s Imperfect 67 5/8" x 91 1/2", 1988, is an abstract composition from the Imperfect series, emphasising the artist’s exploration of colour, geometry and pattern. On the left side of the print, bright yellow geometric shapes dominate the field, intersected by a projecting grey triangle that disrupts the symmetry of the composition. A bold red arch sweeps through the centre, dividing the left and middle sections, while a vertical panel of tightly spaced black and white stripes introduces rhythm and contrast within the structure.
     
    To the right, the composition expands into a complex arrangement of angular forms rendered in flat fields of colour and pattern. Dark grey, light blue, deep teal and dark blue shapes are layered with areas of red Ben-Day dots, creating a dynamic interplay between solid colour and graphic texture. Executed in woodcut, screenprint and collage on 3-ply Supra 100 paper, and issued in an edition of 45 with additional proofs, the print demonstrates Lichtenstein’s late-career interest in geometric abstraction and the deliberate irregularity that defines the Imperfect series.

  • "I wasn't sure pop art or my work would last more than six months" 

     
    - Roy Lichtenstein
    Lichtenstein uses colour and pattern in Imperfect 67 5/8" x 91 1/2" to emphasise the tension between flat geometry and visual movement. Bright yellows, deep blues and greys are placed alongside red Ben-Day dots and black-and-white striped sections, allowing each shape to stand out sharply against the others. Rather than blending colours gradually, Lichtenstein separates them with strong black outlines and clear boundaries, exaggerating the angular forms across the composition.