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Superficially, approximately one half of the exhibition’s works are “inside”
depictions, suggesting an interior or a studio. The other works set figures or
things “outside,” in fictive landscapes. But, in the final analysis, everything Roy
Lichtenstein did will always be very much inside his own creative intelligence and
pantheon of artistic heroes. This leaves the uninitiated rather on the outside.
Thus the contemporary historical analyses in this catalogue by Professor Ramirez
and the distinguished curator Ruth Fine and the oral historian Avis Berman’s
interviews of those around the artist when he worked (plus the critical support
documentation supplied by our own Foundation’s specialist staff) are admirable
and essential to improving the global comprehension of Roy Lichtenstein. I
should also add that even the design of this catalogue has re-created the artist’s
“process” with a suggestive élan and it represents a new high point in our visual
comprehension.
We deeply thank the Fundación Juan March for giving us prior opportunities to
show the works on paper in their museums in Cuenca and Palma de Mallorca
and for their energetic expansion of the exhibition and of this catalogue, which
documents this major and historic and multi-media presentation in Madrid. All
these welcoming spaces inspired the splendid presentation to be found today in
the Pinacothèque de Paris.
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