Roy Lichtenstein's Cathedrals series from 1969 is a fascinating exploration of seriality, perception, and the intersection between modernism and pop art. Inspired by Claude Monet's famous Rouen Cathedral paintings, Lichtenstein embarked on this series, drawing from the Impressionist's fascination with the cathedral's changing appearance under varying light conditions. Unlike Monet, who painted the cathedral on-site over two years, Lichtenstein did not paint from life but instead reimagined the cathedral using his distinct pop art language, consisting of primary colors and Benday dots.

This series serves as a bridge between the meticulous observation of Impressionism and the mechanical reproduction associated with pop art. Lichtenstein's work is a nod to Monet's investigations of light and color, yet it also critiques the commodification of famous artworks through mass reproduction. By employing Benday dots and a limited color palette, Lichtenstein mechanizes the cathedral's image, emphasizing the process and perception of art rather than the uniqueness of the subject itself.

Lichtenstein's Cathedrals not only pay homage to Monet's series but also delve into the concept of "seriality" as defined in the art world. This notion suggests a consistent interrelationship of structure and syntax across a series of works, moving beyond the idea of a singular masterpiece to focus on the artistic process itself. Lichtenstein's approach underscores the act of seeing, drawing parallels between Monet's interest in the ephemeral nature of light and his own fascination with the mechanics of perception facilitated by modern printing techniques.

By juxtaposing Monet's impressionist sensibilities with his pop art stylings, Lichtenstein explores the visual and thematic concerns that unite these two disparate periods. Both artists, through their distinct methods, prioritize the act of perception, inviting viewers to reconsider the nature of art and the processes through which it is mediated​ (The Broad)​​ (LACMA)​​ (SFMOMA)​.