Thinking of Him - Roy Lichtenstein
Archival giclée
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Description
A classic Pop Art piece by Roy Lichtenstein, featuring his signature comic book aesthetic, bold lines, and Ben-Day dots.
Roy Lichtenstein produced Thinking of Him in 1963, a period when he focused on the appropriation of commercial imagery. The work draws directly from the visual language of romance comic books, which were popular in the United States during the mid-twentieth century. By isolating a single frame, Lichtenstein removes the narrative context of the original source material, leaving the viewer with a frozen moment of emotional tension.
The composition employs the characteristic Ben-Day dots, a mechanical printing process used in mass-produced media to create shading and colour variation. Lichtenstein replicates this industrial technique by hand, using stencils to apply the dots across the skin tones of the female figure. The bold black outlines and the restricted palette of primary colours, including yellow, blue, and red, mimic the aesthetic of cheap newsprint. This choice of style forces a confrontation between high art and low culture, questioning the boundaries of artistic authorship.
The female subject is shown in profile, her expression one of sorrow, while the thought bubble contains the object of her contemplation. The man is depicted in a more detached, schematic manner, suggesting a memory or a fantasy rather than a physical presence. Through this reduction of human emotion to a series of graphic signs, Lichtenstein examines how mass media shapes our perception of personal experience. The work does not aim for psychological realism, but rather presents a stylised version of longing that is instantly recognisable. By elevating these commercial tropes to the scale of a gallery painting, Lichtenstein invites an analysis of the relationship between consumer culture and individual identity.
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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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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
Thinking of Him - 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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