Roy Lichtenstein’s Reclining Nude (1980), part of his Expressionist Woodcut Series, reflects the artist’s ongoing dialogue with the history of modern art while reaffirming his Pop sensibility. In this striking composition, Lichtenstein reimagines the traditional reclining nude motif through the lens of Expressionism and the mechanical precision of his own graphic style.

The figure is reduced to bold, angular planes of color, with sharp black outlines carving out the form. Her face, framed by vibrant yellow hair, is fragmented into geometric shapes, conveying both vulnerability and intensity. Unlike his earlier depictions of women influenced by comic-strip aesthetics, here Lichtenstein embraces a more raw, sculptural quality—paying homage to German Expressionist woodcuts while simultaneously parodying their emotional earnestness.

The nude’s posture, with one arm bent across her chest and head tilted against her hand, is reminiscent of classic artistic tropes of repose, yet Lichtenstein strips away naturalism in favor of abstraction. Her body becomes a construction of flat ivory fields, black contours, and striped hatching, oscillating between representation and stylization. This tension exemplifies Lichtenstein’s ability to both honor and critique the conventions of art history.

The Expressionist Woodcut Series marked an important experiment in medium for Lichtenstein. By working in woodcut—a technique historically associated with rough-hewn, emotional imagery—he created a deliberate contrast with his own meticulous, controlled style. The clash between the traditionally handmade, textural quality of woodcuts and Lichtenstein’s clean, industrial aesthetic underscores his playful interrogation of artistic authenticity.

In Reclining Nude, the balance of severity and sensuality captures the spirit of both Expressionism and Pop. The work illustrates Lichtenstein’s broader project of reframing art-historical genres—from the nude to landscape to still life—through his iconic visual language of hard edges, flat color, and irony.

As part of an edition of 50 plus proofs, this work remains one of the most celebrated pieces of the Expressionist Woodcut Series. It demonstrates how Lichtenstein could transform a centuries-old artistic subject into a fresh, provocative image that bridges tradition and modernity.

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