I Know How You Must Feel, Brad... - Roy Lichtenstein
Archival giclée
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Description
A classic Pop Art work by Roy Lichtenstein, featuring a stylised comic book panel with the iconic speech bubble: I know how you must feel, Brad.
Roy Lichtenstein produced this work in 1963, a period when he focused on the aesthetic of mass-produced comic books. The painting features a woman in a moment of emotional distress, accompanied by a speech bubble containing the text: I know how you must feel, Brad. This composition draws directly from the visual language of romance comics popular during the mid-twentieth century. Lichtenstein employed his signature technique of mimicking the Ben-Day dot process, a mechanical printing method used to create shading and colour in newspapers. By enlarging these dots and applying thick, black outlines, he removed the personal touch of the artist, creating a flat, graphic appearance. This approach allowed him to examine the intersection between high art and commercial imagery. The work avoids the emotional depth typically associated with traditional portraiture, instead presenting a stylised, iconic representation of melodrama. This piece is part of a series where Lichtenstein explored the narrative potential of single-frame comic panels. By isolating a specific moment of dialogue, he forces the viewer to construct a broader story around the character. The lack of context for the situation involving Brad creates a sense of ambiguity. The work remains a primary example of how Pop Art artists utilised existing cultural artefacts to question the nature of authorship and originality in the visual arts. The stark contrast between the bold lines and the simplified colour palette ensures the image retains its graphic impact, mirroring the source material while elevating it to the scale of a gallery painting.
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. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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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.
I Know How You Must Feel, Brad... - Roy Lichtenstein
Our Features
Designed for Lasting Impact
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
- Choose poster, framed print, canvas or framed canvas
- 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
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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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