Cathedral 6, State I
Cathedral 6, State I
Signed Print
Roy Lichtenstein
£10,000-£14,500
$20,000-$29,000 Value Indicator
$18,000-$26,000 Value Indicator
¥90,000-¥140,000 Value Indicator
€12,000-€17,000 Value Indicator
$100,000-$150,000 Value Indicator
¥1,980,000-¥2,880,000 Value Indicator
$13,000-$19,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Lithograph
Edition size: 13
Year: 1969
Size: H 123cm x W 82cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2019 | Christie's New York - United States | Cathedral 6, State I - Signed Print | |||
| October 2008 | Christie's New York - United States | Cathedral 6, State I - Signed Print |
Meaning & Analysis
Roy Lichtenstein’s Cathedral series was created in 1969, about a decade after Pop Art was established in the United States. The artist saw photographs of impressionist Claude Monet’s Rouen Cathedrals, which inspired him to manufacture his own versions of the subject matter.
Monet’s quintessentially painterly approach stands in sharp contrast to Lichtenstein’s commercially influenced style. Yet, Lichtenstein’s primary colours and Ben Day dots can be regarded as obvious descendants of Monet’s impressionist brushwork. Similar to how Monet’s paintings dissolve into individual brushstrokes, so do Lichtenstein’s handmade dots.
Cathedral 6 (State I), resembles Cathedral 5 in it’s starkly contrastive black and yellow colour scheme. Lichtenstein uses Ben-Day dots in a process that is similar to pointillism. The dots are spaced differently by hand and sometimes overlapping to create different colours and tones. While Monet’s repetition seemingly reaffirms the singularity of the Rouen Cathedral, Cathedral 6 (State I) presents a mass of uniform dots, mechanising the subject matter.
Essentially, Lichtenstein’s emphasis is on revising mass reproduction techniques in his work above all else. His main intention is to expose how art is commodified for public consumption through various media, like advertising and printing. The Monet cathedrals function as art historical footnotes for the artist.
