Two Paintings: Beach Ball, 1984: Print by Roy Lichtenstein from the "Paintings" series

  • Two Paintings: Beach Ball, 1984 is a print by Roy Lichtenstein featuring two paintings on a striped wall

    Two Paintings: Beach Ball, 1984

    Woodcut, lithograph, and screenprint on Arches 88 paper, Sheet: 101.7 x 99.2 cm

    Edition of 60; plus 11 AP, 1 RTP, 1 PPII, 3 GEL, 1 C, 1 SP, 1 NGA

    ©The Estate of Roy Lichtenstein

     

    BACK TO: "Paintings" series
     
    Two Paintings: Beach Ball, 1984 is a print by Roy Lichtenstein from the Paintings series that presents two framed artworks arranged on a striped wall. The upper painting sits within a white frame featuring decorative ridges and circular ornaments in the corners. Inside the frame, Lichtenstein depicts a reclining blonde figure rendered in a surreal, stylised manner. Her flowing hair is outlined in black, while her body is formed from red Ben-Day dots. In the foreground, a brightly coloured beach ball in red, yellow and white adds a playful focal point, while the background combines deep blue tones with blue and white stripes that heighten the graphic composition.
     
    Below this image, a second framed work appears, echoing the concept of a painting within a painting. This lower canvas features a large, cartoon-like grey brushstroke running across the centre, contrasting with the more figurative imagery above. By presenting two different visual languages together, Lichtenstein highlights his ongoing exploration of painting as both subject and object. Produced using woodcut, lithograph and screenprint on Arches 88 paper, the print reflects the artist’s interest in combining Pop Art imagery, painterly gesture and graphic design.

  • "In America the biggest is the best."

    - Roy Lichtenstein

    Lichtenstein incorporates elements that echo the visual language of Surrealism, particularly in the stylised depiction of the reclining figure. The elongated blonde hair, simplified facial features and fragmented composition create a dreamlike quality that moves away from strict realism. Rather than presenting a naturalistic scene, Lichtenstein constructs the figure using bold outlines, Ben-Day dots and graphic colour, transforming the body into a series of flat shapes and patterns. This approach reflects Surrealism’s interest in distortion and imaginative imagery, while still maintaining the clean, mechanical aesthetic that defines Lichtenstein’s Pop Art style.