1970
Alexej von Jawlensky's portrait heads, which Lichtenstein saw at the Pasadena Art Museum in 1968, became the point of departure for Modern Head Series. In addition to five Modern Heads prints, Lichtenstein produced two sculptures in the round and one relief between 1969-70. Lichtenstein made significant use of technology borrowed from industry for this series. For Modern Head #4, Gemini went to Angell Manufacturing in Los Angeles, fabricators of decorative metal trim, for the state-of-the-art technology used to produce the engraved, anodized aluminium necessary to achieve the machined look that Lichtenstein desired.
The aim was 'to make a man look like a machine. It's the machine quality of the twenties and thirties that interests me. The Art Moderne idea of making a head into something that looks as if it's been made by an engineering draftsman deals with industrialization and manufacture, which is what my painting has dealt with since 61 or so'.
Lithograph in colours, 1970, on engraved aluminium, with incised signature and date on the reverse, numbered from the edition of 100, published by Gemini G.E.L., Los Angeles, with their copyright screenprint mark on the reverse, in the original polished aluminium frame, 53 x 44 cm. (20¾ x 17¼ in.)
The aim was 'to make a man look like a machine. It's the machine quality of the twenties and thirties that interests me. The Art Moderne idea of making a head into something that looks as if it's been made by an engineering draftsman deals with industrialization and manufacture, which is what my painting has dealt with since 61 or so'.
Lithograph in colours, 1970, on engraved aluminium, with incised signature and date on the reverse, numbered from the edition of 100, published by Gemini G.E.L., Los Angeles, with their copyright screenprint mark on the reverse, in the original polished aluminium frame, 53 x 44 cm. (20¾ x 17¼ in.)
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