Cathedral 6
Cathedral 6
Signed Print
Roy Lichtenstein
Price data unavailable
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
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Medium: Lithograph
Edition size: 75
Year: 1969
Size: H 123cm x W 82cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| July 2024 | Forum Auctions London | United Kingdom | |||
| July 2024 | Forum Auctions London | United Kingdom | |||
| March 2021 | Bonhams Los Angeles | United States | |||
| March 2020 | Christie's New York | United States | |||
| April 2013 | Phillips New York | United States | |||
| January 2012 | Phillips New York | United States | |||
| June 2010 | Phillips New York | United States |
Meaning & Analysis
Roy Lichtenstein, an eminent figure of the Pop Art movement, created his Cathedral series in 1969. The artist was prompted by a photograph of Claude Monet’s 1894 series of oil paintings of a historic monument in Rouen, France.
Although the two series resemble each other in wanting to highlight the act of seeing over the subject matter, there is one essential difference. Lichtenstein’s emphasis is on revising mass reproduction techniques, above all else. He demonstrates how the images of art become common property and are codified for public consumption through various media like advertising and printing. His use of Ben-Day dots in the Cathedral series is a process similar to pointillism, commonly used in comic books. The dots are spaced differently and sometimes overlapping to create different colours and tones.
The colour scheme of Cathedral 6 resembles that of Cathedral 2, seeing as both make use of darkly pigmented Ben Day dots. The colour combination of black and blue present in this print is effectively undecipherable when considered up close. Cathedral 6 stands in stark contrast to Cathedral 3, wherein the white bits between the dots allow for the contours of the cathedral to assemble, regardless of the distance from which you regard it.
