Still Life with Lobster, 1974: Still Life print by Lichtenstein

  • Roy Lichtenstein Still Life with Lobster (1974), featuring a stylised lobster on a yellow table with a bottle, glass, rope, shells, and netting, rendered in bold outlines and flat colour
    Still Life with Lobster, 1974
    Lithograph and screenprint on BFK Rives paper, sheet: 98.5 x 95.2 cm
    Edition of 100; plus 14 AP
    ©The Estate of Roy Lichtenstein
    BACK TO: SIX STILL LIFES SERIES 

     

    Still Life with Lobster, 1974, presents a densely arranged tabletop scene in which a lobster lies prominently across a bright yellow surface, surrounded by a collection of objects. A bottle, glass, rope, shells, and netting are layered into the composition, while a chair and framed image appear in the background, flattening interior and exterior space into a single plane. The scene is constructed through bold black outlines and diagonal lines, with saturated reds, yellows, greens, and blues creating a striking visual contrast. Objects overlap and compress against one another, producing a tightly controlled, graphic composition that prioritises pattern and surface over depth.
     
    Produced as a lithograph and screenprint on BFK Rives paper, the work forms part of Lichtenstein’s Six Still Lifes series, in which he reimagines the traditional still life genre through the visual language of Pop Art. Rather than depicting objects with naturalistic detail, Lichtenstein reduces them to stylised forms and repeated motifs, transforming familiar subject matter into a system of signs. By referencing art historical still life while employing mechanical reproduction techniques, he challenges distinctions between high art and mass culture, emphasising structure, repetition, and the constructed nature of visual representation.
  • "I'm interested in everything. That's why I paint everything." 

     

    - Roy Lichtenstein

    In Still Life with Lobster, Lichtenstein references the tradition of European still life, using motifs like food, vessels, and arranged objects. He reinterprets these elements through a Pop Art lens, flattening forms and reducing them to bold, graphic shapes. In doing so, he transforms familiar art historical imagery into stylised signs, questioning originality and the boundaries between high art and reproduction.