‘The Loaded Brush’ focuses on Roy Lichtenstein’s ’80s output

Roy Lichtenstein in his studio with works featured in the exhibition. Paintings from the left: ‘River Scene,’ 1987; and ‘Artemis and Acteon,’ 1987; left sculpture: ‘Brushstroke Head I,’ 1987. Photo by Bob Adelman. © Estate of Roy Lichtenstein / Bildrecht Wien, 2019

SALZBURG, Germany – A leading pioneer of the Pop Art movement, Roy Lichtenstein’s innovative use of the brushstroke, reducing the form of the painted stroke to its simplest expression, led to a new visual language which he elaborated to reach new heights in the 1980s. Engaging with a new subject matter, the brushstroke-form, Lichtenstein refined and reinterpreted the techniques and palette of his iconic Pop style. “The Loaded Brush,” which opens Saturday at Galerie Thaddaeus Ropac Salzburg, is an in-depth exhibition focusing on this seminal period of Lichtenstein’s career. It brings together rarely seen works that span major figurative and abstract paintings, sculptures, collages and drawings. Together, the brushstroke sculptures and paintings constitute a significant portion of the artist’s oeuvre and demonstrate some of the guiding interests of Lichtenstein’s ongoing artistic development across a variety of materials.

A highlight of the exhibition, now exhibited for the first time in Europe, is one of Lichtenstein’s most daringly expressive works: Artemis and Acteon (1987), inspired by Titian’s masterful rendering of the Greek myth painted in 1556–1559.

Roy Lichtenstein, ‘Artemis and Acteon,’ (1987), oil on canvas, 83.8in. x 120.2in. © Estate of Roy Lichtenstein / Bildrecht Wien, 2019

Executed with superb craftsmanship, Lichtenstein’s painting is characterized by its celebrated subject matter, rich color contrasts and rhythmic brushwork, a combination shared only by Lichtenstein’s most iconic Cartoon Brushstroke Figure works of the 1980s. A flawless union between the classical, the modern, and the contemporary, Artemis and Acteon is an outstanding example of Lichtenstein’s timeless engagement with the history of art, demonstrating his remarkable ability to bring together past historical styles and pave the way for conceptual commentary on painting itself.

“It [the Brushstroke] was the way of portraying this romantic and bravura symbol in its opposite style, classicism. The Brushstroke plays a big part in the history of art. Brushstroke almost means painting or art.” – Roy Lichtenstein, 1991

Lichtenstein extended these technical explorations beyond figurative subject matter to develop a number of iconic landscape paintings, such as the major piece dating from 1987, River Scene. Completed toward the end of the decade, River Scene moves further into the realm of abstraction while retaining its communicative power. Through his daring presentation of both narrative subject in Artemis and Acteon and traditional landscape in River Scene, Lichtenstein challenged audiences to re-engage with classical subject matter, revitalized by his innovative brushwork, just as his celebrated Benday dot works recast images drawn from commercial art. By isolating elements of the overall composition, Lichtenstein highlights how they work together on the painted plane, addressing the relationship between vision, perception and image, and revealing the fundamental function of the brushstroke in figuration.

Traditionally understood as showing great technical skill and brilliance of execution, Roy Lichtenstein’s “bravura” is evidenced through a number of previously unseen works on paper included in the exhibition, complementing and elaborating upon the artist’s canvas paintings either as direct preparatory studies or independent explorations of the painted stroke, displaying a unique deftness of hand and attentiveness to form that sets him apart from his peers.

It was through Roy Lichtenstein’s “bravura” that he invested his simplified subject matter with a rhythm and energy that enabled him to extend his flattened brushstrokes beyond the canvas, through the three-dimensional, and into the monumental. Moving beyond the plethora of techniques used in his painted explorations and into the realm of sculpture, he composed a number of free-standing, three-dimensional brushstroke pieces throughout the 1980s which took the form of medium-sized works, such as Endless Drip (1995) and eight further sculptures featured in the exhibition, as well as his public sculptures executed at ambitious scales.