Crying Girl - Roy Lichtenstein
Archival giclée
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Description
A classic 1963 Pop Art lithograph by Roy Lichtenstein, featuring his signature comic book aesthetic and Ben-Day dot technique.
Crying Girl is a representative example of Roy Lichtenstein's engagement with the visual language of mass-produced comic books. Produced in 1963, this work employs the mechanical aesthetic of commercial printing to elevate popular imagery into the realm of fine art. The composition focuses on a close-up of a woman in distress, a recurring subject in Lichtenstein's work during the early 1960s.
The image utilises Ben-Day dots, a technique derived from the printing process of newspapers and pulp comics, to create shading and texture within the skin tones. Bold, black outlines define the facial features and the flowing yellow hair, creating a flat, graphic quality that rejects traditional painterly depth. The palette is restricted to primary colours, specifically yellow, red, and black, which reinforces the connection to mid-century print media.
By isolating this single frame from its narrative context, Lichtenstein removes the original story, leaving only the raw emotion of the subject. This approach forces the viewer to confront the stylised nature of human expression as filtered through commercial media. The work functions as a critique of the distinction between high art and low culture, a central concern for artists associated with the Pop Art movement. The precision of the lines and the deliberate use of industrial printing techniques demonstrate a calculated detachment from the subject matter. This print remains a recognisable icon of the era, reflecting the influence of graphic design on the development of contemporary art in the United States.
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Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Crying Girl - Roy Lichtenstein
Artist Biography
Roy Lichtenstein
He was not young when this happened. He was thirty-eight, teaching art at Rutgers University, and had spent the previous decade painting Abstract Expressionist canvases that looked like everyone else's. The comic paintings were a deliberate rejection of the idea that art had to show the artist's inner emotional state. They showed Donald Duck instead.
Leo Castelli gave him his first show in 1962. Every painting sold before the exhibition opened. The speed was unusual. Warhol was doing similar things with soup cans and Coca-Cola bottles, but Lichtenstein's method was different: he hand-painted everything to look mechanically reproduced. The Ben-Day dots were applied through a stencil. The lines were drawn with a projector and then painted by hand. The process was laborious and precise, which was the joke: meticulous craftsmanship in the service of something that was supposed to look cheap.
He moved beyond comics into landscapes, brushstrokes (paintings of brushstrokes), Chinese landscapes, interiors, and nudes, all in the same flat, graphic style. The Brushstroke series, where he painted enormous images of painterly brushstrokes in the same deadpan comic-book technique, annoyed Abstract Expressionists specifically and delighted everyone else.
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