Expressionist
Woodcut

German Expressionists, particularly the Brücke artists and members of Der Blaue Reiter of the early 1900s, worked in woodcut prints characterised by simplified forms and heightened colour. They carved their compositions directly onto the surface of the woodblocks, skipping the preparatory stages. To produce his own woodcuts, Lichtenstein employed Baltic Birch, a type of wood that is particularly hard to gouge. He projected the small pencil drawings he had prepared beforehand, tracing the portraits onto the surface of the wood. The artist then applied each colour successively, finishing off the image with black contouring. Lichtenstein’s signature Ben Day dots are used sparingly in this series, seeing as their overall impression is anything but expressionistic.

The Expressionist Woodcut portfolio is made up of portraits. Most importantly, the series introduces the concept of nudes to Lichtenstein’s repertoire of iconography. The series indicates the beginning of a topical investigation that will become central for his artistic oeuvre, culminating in his 1994 series entitled Nudes.

Interestingly enough, the prints in this series fluctuate stylistically between Pop and Expressionism. To challenge high art in an age of mechanical reproduction, Lichtenstein’s compositions incorporate lyrical elements of Expressionism mixed with his affectless Pop Art aesthetic. His use of distinct shading and defined shapes point to Expressionist influences, while the richly striped colouring and schematic forms manifest a true Pop image.

The interlocking patterns of exaggerated wood grain and jagged lines also signify the tone and texture of commercial printed materials. Lichtenstein’s skillful Expressionist Woodcuts prove that it is in fact possible to employ this printing process without achieving a woodcut finish. There is no narrative, only surface, colour and a permeating sense of irony.

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