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Works
3.9
 II FLOOR - ROOM 3.9

 

materials and measurement
Materials

Acrylic on canvas

Height: cm. 203.20
Width: cm. 177.80

 

Other Works in
Historical Collection
Vedovamazzei, Short sighted mirror 3 Short sighted mirror 3
2006
Piero Manzoni, Achrome Achrome
1960 - 1961
Piero Manzoni, Corpo d’aria n.28 Corpo d’aria n.28
1959 - 1960
Piero Manzoni, Merda d’artista (n.63) Merda d’artista (n.63)
1961
Piero Manzoni, Linea 15,81 Linea 15,81
1959
Piero Manzoni, Fiato d'artista Fiato d'artista
1960
GIULIO PAOLINI, untitled untitled
1962
Lucio Fontana, Concetto Spaziale Concetto Spaziale
1960
Giuseppe Penone, La barra d'aria La barra d'aria
1969 / 1996
Mimmo Rotella, Untitled Untitled
1960
Robert Rauschenberg, Payload Payload
1962
Robert Rauschenberg, Calendar Calendar
1962
Jannis Kounellis, Untitled Untitled
1967
Mario Schifano, A De Chirico A De Chirico
1962
Jasper Johns, Do it yourself (Target) Do it yourself (Target)
1960
Jannis Kounellis, Untitled Untitled
1960
FRANCESCO CLEMENTE, Place of Power III Place of Power III
1989
FRANCESCO CLEMENTE, Place of Power I Place of Power I
1989
Richard Serra, Untitled Untitled
1968
RICHARD LONG, A line in Ireland A line in Ireland
1974
Giovanni Anselmo, Direzione Direzione
1966 - 1967
Mario Merz, Untitled Untitled
1971
Bruce Nauman, Raw/War Raw/War
1970
Gianni Pisani, L'incidente L'incidente
1964
Carlo Alfano, Frammenti di un autoritratto anonimo Frammenti di un autoritratto anonimo
1969 - 1970
Donald Judd, Untitled Untitled
1966
Dan Flavin, Senza titolo (to Ileana and Michael Sonnabend) Senza titolo (to Ileana and Michael Sonnabend)
1970
Ettore Spalletti, Azzurro, Oro Azzurro, Oro
2001
Ettore Spalletti, Untitled (SOTTOSOPRA) Untitled (SOTTOSOPRA)
2000
Robert Rauschenberg, Untitled Untitled
1968
Robert Rauschenberg, Add Add
1968
Robert Rauschenberg, Engagement Engagement
1968
Cy Twombly, Triumph of Galatea Triumph of Galatea
1961
Andy Warhol, Spalding Soft Ball Spalding Soft Ball
1962
CLAES OLDENBURG, Untitled Untitled
1960
CLAES OLDENBURG, Untitled Untitled
1961
Jim Dine, Untitled (Hammer) Untitled (Hammer)
1962
Jim Dine, FOUR CHAIRS # 12 FOUR CHAIRS # 12
1962
Michelangelo Pistoletto, Black Venus Black Venus
1967 - 2008
Jenny Holzer, JAW BROKEN OCHRE JAW BROKEN OCHRE
2007
David Hammons, UNTITLED (BASKETBALL DRAWING) UNTITLED (BASKETBALL DRAWING)
2002
David Hammons, Rock Head Rock Head
1998
CLAES OLDENBURG, Meringue Chantilly Meringue Chantilly
1962
CLAES OLDENBURG, Dessert on plate Dessert on plate
1962
CLAES OLDENBURG, Bread on breadboard Bread on breadboard
1962
CLAES OLDENBURG, Vitello tonnato Vitello tonnato
1962
CLAES OLDENBURG, FALLING OMELETTE FALLING OMELETTE
1964
Sigmar Polke, THIS IS ALL THAT REMAINS OF THE ORIGINAL STATUE THIS IS ALL THAT REMAINS OF THE ORIGINAL STATUE
1974
Bruce Nauman, Steel Channel Steel Channel
1968
Gino de Dominicis, Asta In Equilibrio Asta In Equilibrio
1970
Gerhard Richter, Wolken Wolken
1970
Tom Wesselmann, Study for interior #2 Study for interior #2
1969
Tom Wesselmann, Untitled Untitled
1964
Charles Ray, Untitles Untitles
1973
Alighiero Boetti, Map Map
1971 - 1973
John Baldessari, The Story Of One Who Set Out To Study Fear The Story Of One Who Set Out To Study Fear
1982
John Baldessari, Goya Series: so much and more Goya Series: so much and more
1997
Robert Rauschenberg, Pompei Gourmet Kitchen Glut (Neapolitan) Pompei Gourmet Kitchen Glut (Neapolitan)
1986
Nino Longobardi, Terrae Motus Terrae Motus
1981
Ernesto Tatafiore, Robespierre Robespierre
1980
Ernesto Tatafiore, Pittore di fuoco Pittore di fuoco
1985
Carl Andre, 20 Aluminium Rectangle 20 Aluminium Rectangle
2008
Douglas Gordon, Above All Else Above All Else
1991
Douglas Gordon, Don’t think about it Don’t think about it
2001
Gilbert & George, Our Spunk Our Spunk
1997
Mimmo Paladino, Untitled Untitled
1995
Georg Baselitz, Schlafzimmer [Bedroom] Schlafzimmer [Bedroom]
1975
Domenico Bianchi, Untitled Untitled
2005
ANISH KAPOOR, Wound Wound
1988
Miquel Barcelò, IN EXTREMIS VIII IN EXTREMIS VIII
1994
RICHARD HAMILTON, Study for a Fashion Plate (B) Study for a Fashion Plate (B)
1969
Damien Hirst, When Logics Die 212-214 When Logics Die 212-214
1999
Damien Hirst, Aminabenzoyl Hydrazide Aminabenzoyl Hydrazide
2008
JEFF KOONS, Teapot Teapot
1979
Ashley Bickerton, Seascape: floating costume to drift for eternity III (Elvis suit) Seascape: floating costume to drift for eternity III (Elvis suit)
1992
Haim Steinbach, Bel canto Bel canto
1987
Paul McCarthy, BOY BOY
1994
Paul McCarthy, Girl Girl
1994
Matthew Barney, OTTODROME, MANUAL A (TRIPTYCH) OTTODROME, MANUAL A (TRIPTYCH)
1992
Matthew Barney, CREMASTER 4:3 LEGS OF MANN CREMASTER 4:3 LEGS OF MANN
1994
Thomas Struth, Uffizi Uffizi
1989
Cindy Sherman, Untitled Untitled
1984
Andreas Gursky, ENGADIN II ENGADIN II
2006
Wolfgang Tillmans, Portrait of a Young Woman with Child Full Length Portrait of a Young Woman with Child Full Length
1995
Francesco Jodice, What We Want, Death Valley, T54 What We Want, Death Valley, T54
2002 - 2008
Antonio Biasiucci, Magma Magma
1985 - 1995
GIULIO PAOLINI, L'altra figura L'altra figura
1986
SOL LEWITT, Scribbles Scribbles
2012
ROY LICHTENSTEIN, INTERIOR WITH PAINTING OF TREES (1997)
zoom

ROY LICHTENSTEIN

INTERIOR WITH PAINTING OF TREES

1997

 

Private Collection

 

 

On display from 2009 to 2012 (February)

 

 

 

From the early nineties Lichtenstein was inspired by advertisements for furnishings and designer products, which he found in phone books or magazines, to create a series of
portraits of modern domestic interiors. The flat image of the photographic reproduction was emphasized by a concise vocabulary, made up of essential lines and flat
fields of colour with a markedly graphic matrix to exalt the industrial origin of the furniture and products represented. Chiaroscuro is also rendered with stippling or hatching
of varied density, a technique borrowed from commercial printing or design lettering. The scene is counter-pointed with a few naturalistic details, like the vase of flowers that
appears on the far wall. They are interiors with vaguely post-modern designs which, in the orderly, calm, middle-class perfection suggested by their pastel colours, look like doll's
houses rather than flesh-and-blood people. At the same time, the systematic absence of any human presence conveys the sense of a void in these interiors of respectable society,
made up of appearance rather than substance. In a close comparison with the Post- Impressionist tradition – which in the late nineteenth and early twentieth century
developed the themes of modern life through new compositional principles and new relations between figure and ground, between sign and colour – in this cycle of works Lichtenstein seems to reflect on painting’s potential to represent the contemporary world: synthetic, hi-tech and digital.

 

 

 

 

ROY LICHTENSTEIN
ROY LICHTENSTEIN
New York 1923 | New York 1997
The closer my work is to the original, the more threatening and critical the content. However, my work is entirely transformed in that my purpose and perception are entirely ...
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Vitello tonnato