Entablature

The physical characteristics of the architectural reliefs appealed to the artist on account of their machine-made components. Moreover, Lichtenstein’s artistic take on these elements reflects how his chosen designs are distinctly industrialised American imitations of classical architecture. Based on historical sources, mainly of Greco-Roman and French Beaux-Arts descent, the facade ornaments selected by the artist are themselves appropriations. Lichtenstein’s Entablatures use these pointedly copied forms as their point of departure, rather than seeking out the origins of the reliefs.

Isolating various culturally coded symbols found on buildings, Lichtenstein’s Entablatures are complete portraits depicting partial subjects. He presents his chosen motifs in a richly textured, yet reductive and repetitive manner, commenting on architecture’s historical preference of uniformity.

By emphasising the objecthood of the reliefs, Lichtenstein also directs criticism at Minimalism’s push for impassive artistic expression. Additionally, the Entablatures ridicule colour field painting’s use of flat planes of single colour, as a means to access spiritual transcendence.

Multilayered in its formal and conceptual references, the Entablature series offers a look at the intersection of art of architecture. Moreover, the prints explore how everyday visuals are transformed into emblems of power. Lichtenstein equates the replicated and standardised facade features with the doctrines governing his own artistic creation.

Once again taking pre-existing signs as his subject matter, the Entablatures demonstrate that architecture, much like art, borrows from the past with the intention of enforcing the order of the present. Lichtenstein exposes the false iconicity of these grand motifs situated all around society, reflecting on the imperialist sentiments saturating 20th century American architecture.

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