Mirror #3 (Six Panels), Roy Lichtenstein, 1971

Roy LichtensteinAmerika Birleşik Devletleri, 1923–1997

Mirror #3 (Six Panels)

1971 · Painting

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“Mirror #3 (Six Panels)” şu anda nerede? Koleksiyon: Art Institute of Chicago, Şikago. Şu anda sergilenmiyor. Kontrol edildi 9 Kasım 2026.

Art Institute of Chicago

Şikago, Amerika Birleşik Devletleri

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Kontrol edildi: 6 gün önce
Bu durumun başlangıcı: 19 Ağu 2026
Kaynak: Müze

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Roy Lichtenstein studied furniture and glass catalogues before making paintings such as Mirror #3 (Six Panels), dated 1971, at the Art Institute of Chicago, Chicago. These illustrations supplied conventions for depicting reflections. The painting belongs to his Mirror series of 1969–72, bringing methods of commercial graphics into paint. Its mirror reflects only simplified glare and shadow. The fractured abstraction also addresses the relationship between the painted surface and its support. Lichtenstein's subject participates in a tradition of painted mirrors extending from Velázquez to Picasso.

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Roy Lichtenstein was perhaps the most consistently inventive artist among the group of individuals who rose to prominence as the progenitors of American Pop Art in the early 1960s. Throughout his career, he explored the functional simplicity and visual clichés that characterize processes of mechanical reproduction. Initially preoccupied with the visual immediacy of cartoons, Lichtenstein embraced the technical constraints of graphic illustration, applying them to painting. Mirror #3 (Six Panels) is among the most ambitious, summarizing canvases in the artist’s Mirror series (1969–72). Like his famous cartoon images, these paintings were inspired by popular culture sources. Studying illustrations from furniture and glass-company catalogues, Lichtenstein familiarized himself with pictorial conventions used to represent reflection.

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The work also references the long tradition of rendering mirrors in art, a theme that was explored by artists from Diego Velázquez to Pablo Picasso. Lichtenstein was perhaps most invested, however, in broadly generic questions of surface and support. Only stylized gleam and shadow are reflected in his mirror; thus, the puzzling, fragmented, even conceptual abstraction becomes the real subject of the work.

Art Institute of ChicagoCC BY 4.0