Still Life with Crystal Bowl - Roy Lichtenstein
Archival giclée
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Description
A 1973 Pop Art print by Roy Lichtenstein, featuring a fruit bowl rendered with bold lines and flat primary colours.
Roy Lichtenstein produced this work in 1973, applying his signature aesthetic to the traditional genre of the still life. The composition features a bowl of fruit rendered with the mechanical precision associated with commercial printing processes. Lichtenstein employs bold black outlines and flat areas of primary colour to define the forms of apples, grapes, and bananas. The crystal bowl itself is depicted through a series of precise, parallel lines that suggest the reflective quality of glass. This technique mimics the shading methods found in comic books and newspaper advertisements. Behind the bowl, the background consists of horizontal stripes, which flatten the pictorial space and remove any sense of atmospheric depth. By choosing a conventional subject like a fruit bowl, Lichtenstein engages with the history of art while simultaneously critiquing the way images are consumed in modern society. The work removes the painterly gesture, replacing it with a clean, graphic style that prioritises clarity and visual impact. The contrast between the organic shapes of the fruit and the rigid, linear structure of the bowl and background creates a tension that is characteristic of his mature period. This print demonstrates his interest in how mass-produced imagery can be elevated to the status of fine art through careful selection and recontextualisation.
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.
Shipping
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.
Still Life with Crystal Bowl - 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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