White Brushstroke I 1965Poster con cornice

White Brushstroke I 1965 takes a single painted stroke and turns it into a flat graphic shape. Roy Lichtenstein often borrowed the marks of abstract painting and redrew them with clean black outlines and rows of small printed dots, so the gesture reads as a printed sign rather than a splash of paint.

The framed poster goes straight onto a nail. The frame comes in white, wood, dark wood or black. A white or wood edge keeps the pale brushstroke calm against the wall, while a dark wood or black edge draws a firm line around it.

In a hallway, the stroke sits alone on the wall. Walking past, you catch the dots inside the outline and see how the mark was built, not painted.