Roy Lichtenstein's Modular Paintings series showcases the artist's exploration of geometric abstraction and pop art aesthetics. In "Modular Painting with Four Panels, No. 7," part of his Modern Series created in 1970, Lichtenstein draws inspiration from the geometric Art Deco style of the 1930s, evident in settings like ocean liner lounges and theatre foyers, as well as commercial reproductions of Art Deco designs in mass media. This work exemplifies Lichtenstein's playful yet critical approach to art, using comic strip vocabulary—such as benday dots and stenciled shapes outlined in black—to parody the Art Deco fascination with technology and industry. Despite its humorous undertones, the painting critically addresses the postwar surge of commercial imagery in American culture, marking a significant statement within the Pop Art movement (Cranbrook Art Museum).
Another piece, "Modular Painting in Four Panels V," created in 1969 and housed in the Lowe Art Museum, University of Miami, is a significant addition to their collection of contemporary art. This work is a striking example of Lichtenstein's late 1960s foray into Art Moderne design, combining geometric abstraction with his iconic hard-edged line and color. The division of the artwork into four parts echoes an elementary school project of Lichtenstein’s, wherein he divided his surface into quadrants and repeated the drawing in each. This method results in a composition of interlocking squares and rectangular bars, showcasing Lichtenstein's typical use of strong, primary colors, black and white, and enlarged Benday dots to animate the painting's surface. These techniques are characteristic of Lichtenstein's broader oeuvre, which has been celebrated in numerous national and international exhibitions (eMuseum).
Throughout his career, Lichtenstein's artistic practice navigated the realms of abstraction, representation, and the mechanical versus the handmade. His work is defined by a deep engagement with the visual language of commercial printing and popular culture, particularly comic strips. By the 1960s, Lichtenstein had developed a unique technique that blended aspects of hand-drawing with mechanical reproduction, notably using the opaque projector to transfer drawings onto canvas, which he then filled in with bold colors and stenciled Benday dots. This approach allowed him to produce works that were at once a homage to and a critique of both high art and popular culture, a hallmark of his contributions to Pop Art (The Art Story).
Lichtenstein's Modular Paintings, with their interplay of geometric forms, commercial art techniques, and pop culture elements, underscore the artist's innovative approach to painting and his critical commentary on the nature of art and culture in the postwar United States.
