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Roy Lichtenstein

Perfect/Imperfect

September 28–December 7, 2002
Beverly Hills

Roy Lichtenstein, Imperfect Painting, 1987 Oil and magna on canvas, 33 ¾ × 24 inches (85.7 × 61 cm)© Estate of Roy Lichtenstein

Roy Lichtenstein, Imperfect Painting, 1987

Oil and magna on canvas, 33 ¾ × 24 inches (85.7 × 61 cm)
© Estate of Roy Lichtenstein

Roy Lichtenstein, Two Studies for Imperfect Painting, 1987 Colored pencil on graph paper, 8 ½ × 11 inches (21.6 × 27.9 cm)© Estate of Roy Lichtenstein

Roy Lichtenstein, Two Studies for Imperfect Painting, 1987

Colored pencil on graph paper, 8 ½ × 11 inches (21.6 × 27.9 cm)
© Estate of Roy Lichtenstein

Roy Lichtenstein, Drawing for Perfect Painting, 1986 Graphite and colored pencils on graph paper, 8 ½ × 11 inches (21.6 × 27.9 cm)© Estate of Roy Lichtenstein

Roy Lichtenstein, Drawing for Perfect Painting, 1986

Graphite and colored pencils on graph paper, 8 ½ × 11 inches (21.6 × 27.9 cm)
© Estate of Roy Lichtenstein

Roy Lichtenstein, Perfect Painting, 1978 Oil and magna on canvas, 40 × 50 inches (101.6 × 127 cm)© Estate of Roy Lichtenstein

Roy Lichtenstein, Perfect Painting, 1978

Oil and magna on canvas, 40 × 50 inches (101.6 × 127 cm)
© Estate of Roy Lichtenstein

Roy Lichtenstein, Imperfect Painting, 1987 Oil and magna on canvas, 32 ¾ × 27 inches (83.2 × 68.6 cm)© Estate of Roy Lichtenstein

Roy Lichtenstein, Imperfect Painting, 1987

Oil and magna on canvas, 32 ¾ × 27 inches (83.2 × 68.6 cm)
© Estate of Roy Lichtenstein

About

Gagosian is pleased to present the first comprehensive exhibition dedicated to the paintings, drawings, sculpture, and prints of Roy Lichtenstein’s Perfect and Imperfect Paintings series. This exhibition will also inaugurate the newly expanded Beverly Hills gallery, designed by Richard Meier & Partners.

This series began in 1985 with the production of “perfect” paintings, abstract compositions of intersecting triangles, large planes of color, and signature dots all fitting neatly within the confines of a rectangular picture plane. The Imperfect paintings that followed, however, broke free from the rectilinear shape of their predecessors; instead of making the triangles fit, the edges project beyond the limits of the canvas. Lichtenstein would often use a similar composition for a Perfect and for an Imperfect painting, where only the slight torque of a line created an entirely new work.

This exhibition has been made possible with the help of the Roy Lichtenstein Foundation, Dorothy Lichtenstein, and the Estate of Roy Lichtenstein. A color catalogue with an essay by Yve-Alain Bois will accompany the exhibition.