Roy Lichtenstein, Reflections on Girl 1990. ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015. © Estate of Roy Lichtenstein/DACS 2023.

ARTIST ROOMS: Roy Lichtenstein

Roy Lichtenstein, Reflections on Conversation  1990

Reflections on Conversation 1990 is from a group of seven Reflections prints which Lichtenstein worked on at Tyler Graphics in Mount Kisco, New York during 1989 and 1990. These prints are recorded in the artist’s catalogue raisonné and described as combining ‘lithography, screenprint, and relief with collage and embossing. Swan Engraving, Bridgeport, Connecticut, processed the magnesium plates.’ (Corlett 1994, pp.221–6). Tate’s copies are part of the sixteen artist’s proofs aside from the edition of sixty-eight. The other prints in the series are: Reflections on Hair 1990 (Tate P12127), Reflections on Brushstrokes 1990 (Tate P12128), Reflections on Crash 1990 (Tate AL00368), Reflections on Girl 1990 (Tate AL00369), Reflections on Minerva 1990 (Tate AL00370) and Reflections on The Scream 1990 (Tate AL00371). In all the Reflection prints, the image is partly obscured by semi-abstract blocks of colour and pattern which simulate reflected light, as if the image is seen behind glass or reflected in another surface. The idea was developed by Lichtenstein in a group of paintings he started in 1988 and which he continued to work on until 1993. Speaking of the paintings series in 1995, the artist explained:

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artworks in ARTIST ROOMS: Roy Lichtenstein

Roy Lichtenstein, Reflections on Crash  1990

Reflections on Crash 1990 is from a group of seven Reflections prints which Lichtenstein worked on at Tyler Graphics in Mount Kisco, New York during 1989 and 1990. These prints are recorded in the artist’s catalogue raisonné and described as combining ‘lithography, screenprint, and relief with collage and embossing. Swan Engraving, Bridgeport, Connecticut, processed the magnesium plates.’ (Corlett 1994, pp.221–6). Tate’s copies are part of the sixteen artist’s proofs aside from the edition of sixty-eight. The other prints in the series are: Reflections on Hair 1990 (Tate P12127), Reflections on Brushstrokes 1990 (Tate P12128), Reflections on Conversation 1990 (Tate AL00367), Reflections on Girl 1990 (Tate AL00369), Reflections on Minerva 1990 (Tate AL00370) and Reflections on The Scream 1990 (Tate AL00371). In all the Reflection prints, the image is partly obscured by semi-abstract blocks of colour and pattern which simulate reflected light, as if the image is seen behind glass or reflected in another surface. The idea was developed by Lichtenstein in a group of paintings he started in 1988 and which he continued to work on until 1993. Speaking of the paintings series in 1995, the artist explained:

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artworks in ARTIST ROOMS: Roy Lichtenstein

Roy Lichtenstein, Reflections on Girl  1990

Reflections on Girl 1990 is from a group of seven Reflections prints which Lichtenstein worked on at Tyler Graphics in Mount Kisco, New York during 1989 and 1990. These prints are recorded in the artist’s catalogue raisonné and described as combining ‘lithography, screenprint, and relief with collage and embossing. Swan Engraving, Bridgeport, Connecticut, processed the magnesium plates.’ (Corlett 1994, pp.221–6). Tate’s copies are part of the sixteen artist’s proofs aside from the edition of sixty-eight. The other prints in the series are: Reflections on Hair 1990 (Tate P12127), Reflections on Brushstrokes 1990 (Tate P12128), Reflections on Crash 1990 (Tate AL00368), Reflections on Conversation 1990 (Tate AL00367), Reflections on Minerva 1990 (Tate AL00370) and Reflections on The Scream 1990 (Tate AL00371). In all the Reflection prints, the image is partly obscured by semi-abstract blocks of colour and pattern which simulate reflected light, as if the image is seen behind glass or reflected in another surface. The idea was developed by Lichtenstein in a group of paintings he started in 1988 and which he continued to work on until 1993. Speaking of the paintings series in 1995, the artist explained:

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artworks in ARTIST ROOMS: Roy Lichtenstein

Roy Lichtenstein, Reflections on Minerva  1990

Reflections on Minerva 1990 is from a group of seven Reflections prints which Lichtenstein worked on at Tyler Graphics in Mount Kisco, New York during 1989 and 1990. These prints are recorded in the artist’s catalogue raisonné and described as combining ‘lithography, screenprint, and relief with collage and embossing. Swan Engraving, Bridgeport, Connecticut, processed the magnesium plates.’ (Corlett 1994, pp.221–6). Tate’s copies are part of the sixteen artist’s proofs aside from the edition of sixty-eight. The other prints in the series are: Reflections on Hair 1990 (Tate P12127), Reflections on Brushstrokes 1990 (Tate P12128), Reflections on Crash 1990 (Tate AL00368), Reflections on Girl 1990 (Tate AL00369), Reflections on Conversation 1990 (Tate AL00367) and Reflections on The Scream 1990 (Tate AL00371). In all the Reflection prints, the image is partly obscured by semi-abstract blocks of colour and pattern which simulate reflected light, as if the image is seen behind glass or reflected in another surface. The idea was developed by Lichtenstein in a group of paintings he started in 1988 and which he continued to work on until 1993. Speaking of the paintings series in 1995, the artist explained:

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artworks in ARTIST ROOMS: Roy Lichtenstein

Roy Lichtenstein, Reflections on The Scream  1990

Reflections on The Scream 1990 is from a group of seven Reflections prints which Lichtenstein worked on at Tyler Graphics in Mount Kisco, New York during 1989 and 1990. These prints are recorded in the artist’s catalogue raisonné and described as combining ‘lithography, screenprint, and relief with collage and embossing. Swan Engraving, Bridgeport, Connecticut, processed the magnesium plates.’ (Corlett 1994, pp.221–6). Tate’s copies are part of the sixteen artist’s proofs aside from the edition of sixty-eight. The other prints in the series are: Reflections on Hair 1990 (Tate P12127), Reflections on Brushstrokes 1990 (Tate P12128), Reflections on Crash 1990 (Tate AL00368), Reflections on Girl 1990 (Tate AL00369), Reflections on Minerva 1990 (Tate AL00370) and Reflections on Conversation 1990 (Tate AL00367). In all the Reflection prints, the image is partly obscured by semi-abstract blocks of colour and pattern which simulate reflected light, as if the image is seen behind glass or reflected in another surface. The idea was developed by Lichtenstein in a group of paintings he started in 1988 and which he continued to work on until 1993. Speaking of the paintings series in 1995, the artist explained:

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artworks in ARTIST ROOMS: Roy Lichtenstein

Art in this room

AL00367: Reflections on Conversation
Roy Lichtenstein Reflections on Conversation 1990
AL00368: Reflections on Crash
Roy Lichtenstein Reflections on Crash 1990
AL00369: Reflections on Girl
Roy Lichtenstein Reflections on Girl 1990
AL00370: Reflections on Minerva
Roy Lichtenstein Reflections on Minerva 1990
AL00371: Reflections on The Scream
Roy Lichtenstein Reflections on The Scream 1990