Figures, 1978: Print by Roy Lichtenstein from the Surrealist series

  • Figures, 1978 shows a face made out of wood
    Figures, 1978
    Lithograph on Arches 88 paper, sheet: 79.9 x 59.7 cm
    Edition of 38; plus 7 AP, 1 SP, 1 RTP, 1 PPII, 3 GEL, 1 C, 1 Change, Inc
    ©The Estate of Roy Lichtenstein
     
    BACK TO: SURREALIST SERIES
     
    Figures, 1978, by Roy Lichtenstein, presents a stark, abstract composition centred around a monumental, totem-like structure rendered in bold black and white woodgrain patterning. The central form is geometric and architectural, yet suggestive of a fragmented figure, while a slender, floating figure to the right introduces a contrasting organic presence. A curved yellow form at the base adds a sense of movement and visual tension, grounding the composition within a flattened, minimal space divided into neutral tonal bands.
     
    Produced as a lithograph on Arches 88 paper in collaboration with Gemini G.E.L., the work forms part of Lichtenstein’s Surrealist series. Here, he replaces traditional Surrealist symbolism with a controlled system of shapes, textures, and visual references, drawing on influences from artists such as Picasso and Miró. The interplay between rigid structure and fluid form reflects his interest in balancing abstraction with figuration, while the simplified palette and graphic precision reinforce his broader exploration of reproduction, perception, and the language of modern art.

  • "I'm excited about seeing things, and I'm interested in the way I think other people saw things"

     

    - Roy Lichtenstein

    Roy Lichtenstein consistently drew on art historical movements as a foundation for his work, reinterpreting styles such as Impressionism, Cubism, Surrealism, and Abstract Expressionism through his distinctive Pop Art language. Rather than simply referencing these traditions, he translated them into bold, graphic compositions using flat colour, clean outlines, and mechanical techniques. By doing so, Lichtenstein transformed familiar visual languages into something newly constructed, questioning originality while positioning his work in direct dialogue with the history of art.