Two Paintings: Green Lamp, 1984: Roy Lichtenstein print from the "Paintings" series

  • Two Paintings: Green Lamp, 1984 depicts two paintings i whihc one focuses on a still life and the other a brushstroke work
    Two Paintings: Green Lamp, 1984
    Woodcut, lithograph, screenprint, and collage on Arches 88 paper, sheet: 98.3 x 134.8 cm
    Edition of 60; plus 11 AP, 1 RTP, 1 PPII, 3 GEL, 1 C, 1 NGA
    ©The Estate of Roy Lichtenstein
    BACK TO: "PAINTINGS" SERIES
     
    Two Paintings: Green Lamp, 1984 is a print by Roy Lichtenstein from the "Paintings" series that brings together two framed artworks within a single composition. Set against a bold black and white striped wall, the image features two contrasting frames. One is ornate in white and grey, while the other is simpler with a darker grey frame featuring a linear wood-like detail. This juxtaposition highlights Lichtenstein’s interest in framing not only as a decorative element but also as part of the conceptual structure of the image.
     
    The simpler frame contains a detailed still life scene centred around a green lamp placed on a table. Behind the lamp sits a white chair, while the tabletop includes a small portrait of a woman, a fishbowl containing a dragon motif, a white envelope and a small container. To the left, the ornate frame holds a more abstract composition featuring a yellow border surrounding a canvas-like texture with a bold black brushstroke running across it. By placing a recognisable still life beside a painterly gesture, Lichtenstein contrasts traditional representation with the stylised language of modern painting.

  • "Art doesn't transform. It just plain forms."

     

    - Roy Lichtenstein

    Lichtenstein often turned to still life imagery to explore the artistic potential of everyday objects. Items such as lamps, envelopes, tables or chairs are deliberately ordinary, reflecting Lichtenstein’s broader Pop Art interest in the visual culture of daily life. By presenting these familiar objects in bold colours, graphic outlines and carefully structured compositions, he elevates the mundane into a subject worthy of fine art. This approach challenges traditional hierarchies in art history, where historical or mythological subjects were often prioritised, and instead suggests that even the most commonplace scenes can become visually compelling when reinterpreted through design and printmaking.