Twin Mirrors (C.102), 1970
Twin Mirrors (C.102), 1970
Twin Mirrors (C.102), 1970
Twin Mirrors (C.102), 1970
Twin Mirrors (C.102), 1970
Twin Mirrors (C.102), 1970

Twin Mirrors (C.102), 1970

Medium: hand-signed screenprint
Signature: signed and dated 'rf Lichtenstein '70' lower right and annotated lower left
Framed size: 44.25 x 31.25"
Price on Request
Details
Medium: hand-signed screenprint
Year: 1970
Edition: 250

Sheet size: 38.75 x 26"
Image size: 35 x 21"
Framed size: 44.25 x 31.25"

Signature: signed and dated 'rf Lichtenstein '70' lower right and annotated lower left
Reference:
Corlett 102

Literature:
Corlett. The Prints of Roy Lichtenstein - A Catalogue Raisonné 1948 - 1997. Hudson Hills Press, NY and National Gallery of Art, Washington, D.C., 2002. pg. 118. no. 102.


About the Work
"Twin Mirrors (C.102)" is a screenprint created by Roy Lichtenstein in 1970 for his "Mirror" series. From the edition of 250, the artwork is signed and dated 'rf Lichtenstein '97' and annotated lower right. The artwork is framed in a contemporary white frame and has a framed size of 44.25 x 31.25". The artwork ships framed and accompanied by a certificate of authenticity. 

Created in 1970, Roy Lichtenstein’s "Twin Mirrors" belongs to the artist’s celebrated "Mirror series," one of the most refined and conceptually inventive bodies of work from his early 1970s practice. At a moment when Lichtenstein was moving beyond the overt narrative drama of his comic-inspired paintings, the mirror offered him a perfect subject: familiar, everyday, and almost impossible to represent directly.

In "Twin Mirrors," two rectangular forms stand side by side, rendered with Lichtenstein’s unmistakable economy of line, color, and Ben-Day dots. The image is clean and immediately legible, yet its simplicity is deceptive. A mirror is expected to reflect something, but here the surfaces reveal nothing in particular. Instead, Lichtenstein gives us the visual signs of reflection: dotted gradients, crisp edges, bands of color, and fields that suggest light moving across glass. The work becomes less a picture of two mirrors than a picture of how we recognize a mirror.

That distinction is central to the power of the series. Lichtenstein was not interested in illusion for its own sake. He was interested in the codes by which images communicate. The mirrors do not show a room, a figure, or a landscape; they show the conventions that persuade us to read them as reflective objects. In doing so, "Twin Mirrors" transforms a domestic object into a sharp investigation of visual language.

The paired format gives the print a particular elegance. The two mirrors create rhythm, balance, and subtle comparison. They are similar but not identical, inviting the viewer to look slowly and notice shifts in color, scale, and internal pattern. Their strong geometry also connects the work to the abstraction and Minimalism of the period, while the dots and graphic clarity keep it firmly rooted in Lichtenstein’s Pop vocabulary.

What makes "Twin Mirrors" especially compelling today is its quiet intelligence. It does not depend on a comic-book figure or a dramatic subject. Instead, it distills Lichtenstein’s larger achievement into a precise visual problem: how does an image tell us what it is?

Elegant, restrained, and conceptually sharp, "Twin Mirrors" stands as an important example of Lichtenstein’s ability to turn the ordinary into something philosophically rich. It is a work about reflection, but more importantly, it is a work about recognition.
About the Artist

A leading figure of American Pop Art, Roy Lichtenstein (1923 – 1997) redefined the visual language of the 20th century with his bold use of comic imagery, Ben-Day dots, and art-historical quotations. Born in New York, he studied and taught at The Ohio State University before emerging in the early 1960s as one of Pop’s central voices. His work probes the nature of image-making, from advertising and mass media to Cubism and classicism. Printmaking was essential to his practice: collaborating with master workshops such as ULAE and Gemini G.E.L., he produced more than 350 editions, including landmark series like Haystacks, Mirrors, and Reflections. These prints reveal both his conceptual rigor and technical innovation, marrying precision with wit. Today, Lichtenstein’s works are held in the world’s foremost museums and remain highly sought after by collectors worldwide.

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