Untitled

About this work

You see a single thick brushstroke, bright red with white highlights, floating on a white background. The edges are crisp, like a comic-book outline, and tiny Ben-Day dots—those little colored circles printers use—fill in the color. Lichtenstein didn’t paint this by hand. He copied a brushstroke from a comic, then turned it into a screenprint. The joke? A quick, messy mark becomes something precise and mass-produced. It’s like he’s asking: when does art stop being real? Look up *impasto* next—it’s the opposite of this flat, printed stroke.