• Roy Lichtenstein, Masterpiece 1962.  Private collection
    Roy Lichtenstein, Masterpiece 1962

I’m Iria Candela, the co-curator of Lichtenstein: A Retrospective at Tate Modern. Since the exhibition opened there have been some great reviews in the press, but I would also like to hear your opinions. If you have visited the exhibition, what was it like seeing these iconic works face-to-face? Were you surprised by some of Lichtenstein’s lesser-known paintings, or by his sculptures and drawings? Do let me know your views, stories and comments.

I hope you enjoyed this retrospective of one of the most influential artists of the 20th century. You can read more about it on my Lichtenstein blog or see what future exhibitions we have at Tate Modern.


This is a wonderful exhibition, one of Tate's best. The use of space and the way the works are grouped add hugely to the viewer's enjoyment and education. One can see how his early works demonstrated the use of colour, proportion and brushwork evident in his later pop art. A chronological hang would have led visitors to rush through the early period to find more familiar works.

Yet the placement of the 'war and romance' grouping is so clever that it evokes an involuntary gasp as one confronts 'Whaam' and 'Bratatat'; however often one has seen reproductions and individual paintings, grouping the works in this powerful way is able to shock, surprise and please in equal proportion.

There are unexpected pleasures here, too. I loved the 'modern' paintings and sculptures, the artist's take on New York deco. In fact, I enjoyed every single piece in this show. We went around twice and will no doubt visit again.

I can now appreciate my school art teacher's sense of incredulity when he saw many of these works for the first time at the Tate in 1968.

Took me back to the 60s but also added entirely new (to me) aspects of the artist's work, especially the Chinese paintings toward the end. A well presented exhibition although I could have done without some of the intellectual mumbo-jumbo mixed in with the more useful information on the walls. Ah well, I guess curators feel obliged to tell visitors what to think ... The only real disappointment was the fact that the catalogue was sold out. I've been to every major exhibition in Europe during the last ten years or so, and this has never happened to me before. I was kindly invited by the sales staff to order the book from the Tate shop online, which I did - with an extra charge of nine pounds added for packing and postage!


I think Tate did a brilliant job with this exhibition but, alas, Lichenstein disappointed - he had one big idea and half a dozen minor ideas - basically he had nothing to say - you don't parody abstract expressionism unless you can actually paint - the Tate's brilliant juxtaposition was cruel

An excellent exhibition. I found the accompanying sound commentary especially valuable.


I waited and waited to see the Licthenstein retrospective, hoping to beat the crows. One sunny Sunday came around when my friend and I were both free and keen to see Licthensetein, but despite the great weather there were still huge crowds wanting to spend the afternoon inside at the Tate.

It certainly didn't disappoint. We were both amazed at the size of some of the works, and the breadth of works shown. As well as all the famous instantly recognisable works there were some surprises and some I had never seen or heard of. I think he's one of the best modern artists.

Licthenstein was well worth the visit, and well worth sacrificing time in the sun. I hope to be able to make it back before the exhibition closes as there is so much to take in and one afternoon - or day - doesn't do it justice.

Enjoyed every bit of the exhibition; however, it was a little disappointing that the credit card machine wasn't working- would have enjoyed the exhibit even more with an audio guide!

He is one of my favourite artists, coming to see his exhibition was one of my birthday presents and the work did not disappoint. The background information in the guide and on the walls was really insightful and helped myself and my boyfriend grasp much more about the man behind the paintings and the paintings themselves. My only complaint / query is where is 'Girl with Hair Ribbon' it's my absolute favourite so was just a bit disappointed it wasn't there. Other than that it was stunning, so pleased I was able to see it.

As a regular visitor to the Tate I thought I should go and see Lichtenstein to try and educate myself a bit more on his works. Obviously, like Warhol, he is particularly famous for certain images such as Wham! however I wanted to see his less famous works to better understand his thought processes and what drove him to dedicate his life to this style of painting. I must say out of all the exhibitions I have been too, I felt very unemotional seeing his paintings. This obviously had something to do with how the medium of paint is applied to the canvas emulating a screen print with no noticeable brush strokes and block colour, dots and lines. I also think that this makes the viewer notice the subject more so that it takes centre stage. Lichtenstein painted inanimate objects in a satirical way at a poignant time in history. I had just finished reading The Help which looks at the civil rights movement in the States and Kennedy's murder and I tried to think back to this time of change in the US when technological advancements were being made, the war in Vietnam and men on the moon, I think Lichtenstein was largely in the right place at the right time and so his pictures are in fact a social commentary during a time of change. However he must be revered for dedicating his life to art and making himself immortal in this way. The standout images for me had to be his works towards the end of his career. I particularly loved his self portrait - very ironic that the observer is looking back at themselves in a mirror. I also loved the paintings before he died that are simply brush strokes on canvas and I found these to be the most emotive. I felt quite sad at the end of the exhibition. Its almost as if Lichtenstein was struggling with this idea of expressing greater freedom on canvas and only did it right at the end of his career. I think maybe he continued with the pop art genre because it was highly commercial and did not follow his heart as much as he would have liked in his work. A very well thought out exhibition - although I managed to miss room 2 and had to walk back through the exhibition! Well done The Tate. I am really looking forward to seeing Matisse Cut outs this week. :)

A perfect start to a great weekend away in London. The exhibition was stunning, quite incredible that you can get so near to so many famous images. The thing I find fascinating about some of the paintings is just how big they are, When you see the images in a book you really don't have any idea of scale. Must say though, looking at all those dots did give me a bit of a headache after a while, I was certain some stereoscopic 3D message was going to be hidden in there somewhere!

Took my son to the Heyward to see Lichtenstein when he was still at college. He took his Lichtenstein print, Mead composition book and postcards with him when he left to work in the Netherlands five years ago.Visiting with him was a wonderful experience, a celebration of how the familiar can rejoin you at different points of your life and still excite you. I went three times and laughed out loud at the goldfish every one.

Hello Iria, The exhibition was not only a fantastic but huge collection of work. I dont have anything profound to say about the exhibition other than that I had absolutely no idea about some of Lichtensteins more 'experimental' pieces, and for me, they were as interesting; if not more interesting; than his more famous work.

I went this Saturday which was pretty hectic, but understandably so. I personally don't mind when its busy on a weekend because its better for the Tate group. If I needed a quieter visit, Id have gone in the week.

I support all the positive comments about the exhibition: the experience made me re-evaluate pop art and opened up some really interesting trails to follow about how I engage with visual art. What I absolutely hated was the enforced 'exit through the gift shop' which left a really nasty taste. If I've missed something and it was 'ironic' - fair enough, but I suspect it's just a cynical move. If I want to buy something as a memento, or to enhance the visit, I'll happily do so, but at a pace of my own choosing. Please, please, stop it, Tate. Leave us to shop in the larger space downstairs, and give us (intelligent) punters a breathing space before attempting to part us with more of our cash.

Being a great admirer of Roy Lichtenstein, I indeed had the pleasure of visiting the Tate Modern exhibition on Saturday the 27th of April 2013. Lichtenstein was brought to my attention meanly by books and other publications first. The most recent of those was “On the occasion of the exhibition Roy Lichtenstein: Beginning to End at the Fundación Juan March (www.march.es), Madrid, February 2 – 20 May, 2007”. I really am very grateful for this great retrospective exhibition. It made me feel much closer to his work. I specially liked the thematic approach of Tate Modern in presenting Roy Lichtenstein’s paintings to the public. To be honest, if I ever had to make a choice as to what would be my favourite, it would be very difficult to make up my mind. I feel touched by every single painting, be it in very different ways. Each painting shows another facet of the painter and each one of them makes me feel happy in a certain way. I very much liked it. Thanks!

Lau de Vries Gasthuisstraat 67 bus 3 2300 TURNHOUT tel. +32(0)14704524 gsm. +32(0)475604387 e-mail: Laurent.de.vries@telenet.be website: www.laudevries.be panorama de Vries: www.spandoek2012.be en www.facebook.com/PanoramadeVries Lieve Flour: www.flourke44.be Würth: www.wurth.be

An excellent exhibition of Roy Lichtenstein's work - thank you! It revealed much more about the depth of his later work than I was aware of, and his wit really shone through.

We love the boldness of the painter. We visited the exhibition recently and have particularly enjoyed the lesser known works, such as the Chinese landscapes and the inspirational pieces where Lichtenstein acknowledges Picasso’s and Matisse’s works.

I, and my children aged 8 and 13, really enjoyed this exhibition. It was well set out, with helpful explanatory notes. I was aware of some of Lichtenstein's bigger works based on comics, but not his early and late works or his sculpture, all of which were very interesting. My children were so enthusiastic that they have both taken the excellent little accompanying book sold in the shop to school to show their fellow pupils/teachers. All in all, an excellent experience, for which many thanks.

We throughly enjoyed this exhibition. Well laid out and good explanations. Well done Tate

Walking in & seeing Whaam at the back of the room was really a whaam moment, was such a delight to see a piece I've admired and smiled at right in front of me! Really informative & excellent to see his other pieces too!

That was my special trip to London to see this retrospective, however not first large Lichtenstein exposition I have seen. Good organization allowing to learn evolution of artist. Interesting was to see former abstract compositions, so unlike to main body of work. Really enjoyed it.

I thoroughly enjoyed the whole experience. The paintings were fab and a lot of unexpected stuff too. I will definitely becoming back to the Tate. x

In my view, Lichtenstein was, is, and always will be, a collectors' artists. The only interesting work in the exhibition is 'Look Mickey,' which shows the artist painfully evolving the faux-naif gestures of all his later work, designed so carefully to appeal to the false consciousness of his buyers.

Was amazing. I did a 9 hour roundtrip drive yesterday (was cheaper than the train) and it was more than worth it. Was great to see the Chinese works alongside the more iconic works. Getting to see Sunrise up close was amazing.

I think I missed mustard on white though

I really enjoyed Lichtenstein's reinterpretations of other famous art works in the art about art room. It really brought home the strength of his painterly language. Would have been helpful to have a reference on the wall to the original artist and painting. Excellent exhibition.


I found this exhibition truly excellent ! Very well laid out works, not too many in each room and not too many rooms. Each room had a very good introduction, concise and to the point (I never take the recorded guide thing - I've always been disappointed when I've done so). I went May 6, there were not many people therefore plenty of room to move about and look properly at each work. I always liked Lichtenstein but never knew that much about him, so I discovered a lot of very interesting facts and a lot of different types of pictures. It was fabulous also to have so many works from private collections. I loved the sculptures, especially the art deco ones, and I totally adored the Chinese pictures. Fan-Tas-Tic !

I have been to the exhibition 3 x, each time with new insight, the first time I was interested in the dots, the colours, the different sizes, the second time I took the iplayer to learn more about him as a person and his influences and then yesterday I just enjoyed the textures, colours, and references he had in his work. Thank you for a great exhibition.

I have been to the Tate Modern quite a number of times and this was the best exhibition that I have been to. Whilst I was a bit dubious about the ticket price this was definately value for money, with 13 rooms to view. Lictenstein is my favourite artist and I have completed a number of studies on his work. There was not only a large number of his signature pieces but a number of works and themes I hadn't encoutered before. Interior with Waterlillies remains my favourite. This is a great exhibition and I thoroughly recommend it!!

I thought it was decent, I liked his sculptures, and his techniques used, but I cannot say I was amazed by it. It felt quite short too.

Dear Iria Such an amazing exhibition and I was extremely impressed by the last room, not only was an amazing end, because seems like such a peaceful part of Lichtenstein work and after such an amazing journey through all his work it ended in such positive energy. And a complete new side of his work to me. thank you! Congratulations for this great job! Karla

Family of 5 visited with a mix of converted and dubious popart lovers and at the end we all come away happy with very different likes and dislikes. Its fair to say most of us were aware of the "war and romance" room most of all and not so aware of room in a room/chinese work so a pleasure all round. Whilst very busy on a Sunday afternoon there was sufficient space most of the time. Like all exhibitions there are things we come away with that could be different..more seats (presumably more cluttered?),no photos (clearly documented but I understand copyright) but for my daughter it was not enough framed pictures in the shop eg MMouse+ the big nudes and I wonder if these are available at another time? Overall 9/10

It's not 'deep' art: Lichtenstein seems to have been more interested in commercial success. However, it's a witty take & thoroughly enjoyable!

Thank you so much for such a wonderful exhibition. Lets face it, we were all there with the same purpose, to see 'Whaam!' but the truth is that we were overwhelmed by everything else, absolutely fantastic. It gave us so much to talk about. One of the highlights was the last room with the Japanese paintings, delightful and inspirational. THANK YOU VERY MUCH!!

Some of it I loved, the Love & War room = fantastic, didn't like the work channelling Picasso at all, but was blown away by the Chinese paintings, really very special. My son, 23, found some of the work reminiscent of GCSE art ' paint something in the style of Lichtenstein' . I too wondered about the plagiarism aspect, guessing that was why it was bratatat?

On the whole great show with some eye openers and some rush pasts....

I was glad I went and admire his skill and humour and use of colour but can't say that I was really engaged by the works on display. The exceptions to this were the paintings in Room 1-the brushstroke paintings and the 3 pieces from 1997 in Room 12 including Interior with Nude Leaving (no postcards of these three unfortunately). By the way, was I the only one there who did not know what magna is? My ignorance didn't limit my enjoyment but a brief note would have ended my puzzlement! We went on to visit the Saloua Raouda Choucair exhibition.which offered much more pleasure and enjoyment and engaged more than my brain.

Wonderful exhibition. Fascinating to see Lichtenstein's development over the years, the use of different materials, the influence of other artists and styles and the range of other items. Also, particularly interesting to see the sequence of three pictures showing the stages of transition of a female face into a Mondrian-style work. Slightly surprised that the exhibition did not seem to include material that was in the Tate magazine (eg cuttings of girl with ball). Sadly, the whole exhibition was spoilt for me by the lack of catalogues in the shop. I left my details in the hope that I might get one later, but I was left with the impression that this might not happen. Annoying.

Loved the sixties work and found some of the sculpture very interesting. I also liked the self referencing painting although it did remind me of Patrick Caulfield. The Chinese paintings I found weak and frankly no more than filler.

As usual a superbly presented exhibition that the sixties work made worthwhile. A shame there wasn't more reference to the origina comic book artists used as reference.

I enjoyed the show - all the exhibits were pleasing in an unchallenging sort of way. I also enjoyed the commentary plus supplementary pictures on the acoustiguide. However, I got no more pleasure out of any of Lichtenstein's works than I did from the things they were derived from. I'd rather have Picasso than RL's take on him, ditto Matisse, ditto the comics I enjoyed as a kid, ditto the diagrams of chairs etc in catalogues or the art deco designs which I think look better on the buildings they came from. For me he does not add anything. I'm sure the curator's comments are sincerely meant but they strike me as more suitable for Pseuds' Corner. Sorry!

I found the finished/unfinished section quite interesting. I wonder if L. knew in advance which category each would fall into?

I think the exhibition was well ordered and therefore logical to follow. Like other commentators, my main purpose of visiting the exhibition was to see his less known work. Landscapes are my area of interest. Some of his landscapes were only landscapes because the label said so - and also because to us - the spectators - we have become adept at reading the signs. Others included obvious landscape motifs such as a segment of setting sun.

A most enjoyable moment for me was purely accidental. A young mother spectator stood in front of one of Lichtenstein's nudes. She wore a black and white striped jumper and for a moment I visualised her as part of the composition which also included areas of black and white stripes. I love this kind of accident and thoroughly enjoyed the exhibition. Thankyou

Iria felicidades por esta exposición! Espero seguir en contacto contigo, R.Sáez

Such a thrill to see some of my favourite paintings in real life and, although we didn't go for the audio guide, the printed material added to our understanding and appreciation. Interesting to see some of the lesser-known work as well - my wife Alwena especially enjoyed the sculpture.

The famous stuff is very much of its time - but what a great time.

A high point in my visits to Tate over the last few years.

Absolutely loved it. Best yet To see them all together The scale the vision. Such innovation. The art that was trying to deny art Loved the homages to other painters Loved the steel and enamel sculpture

This is a fantastic exhibition - but please, please stop people taking photographs (not only here, but throughout Tate). It can be damaging to the pictures when flash is used, it's very annoying (all the clicking, whirring, and flashing), and think about all the postcards you don't sell because people have taken their own snaps. I didn't see any signs forbidding photographs, and I've never seen an attendant stopping a gallery-goer taking a picture. In fact the only time I've seen this happen is when I told someone (at the Van Doesburg show a few years ago) how bloody irritating it was as he methodically shot, with a flash, every picture in the room (he told me where to shove it). Come on Tate, I love you, but enough's enough.

Amazing to see Lichtenstein's work up close and his progression and experimentation with ides and techniques. Provided lots of cross-curricular ideas for students! Totally inspiring.

Brilliant exhibition and very enjoyable ... except for the presence of two or three separate families with children who shouted, screamed and were generally badly behaved and, what's worse, largely ignored/indulged by parents. Don't think you can do anything about this but perhaps they might read this and recognise themselves (although I suspect not!).

I cannot remember last enjoying an exhibition as much as I did this one. Every exhibit was terrific. Lichtenstein was an amazing artist. Thank you Tate for bringing this together.


We were prepared to be amazed but even so were totally blown away by the diversity of his work - the brass sculptures were by far for us the highlight of highlights. And were even more so because of their unexpectedness. Closely followed by the ceramics.... Who knew about them? not us for sure. Starting our Sunday on such a high note set the tone for the rest of our day - thank you!

For me Lichtenstein was just another pop artist I used to read about in the 1960s. Your exhibition brought him to life as an individual and I was surprised at the breadth of his work. I grew up reading the original comics of the 1950s and 1960s, so for me this was an especially evocative exhibition. The sculpture was a surprise and a nice surprise. He could have made a career as a furniture designer (also). But the Chinese drawings and the various brush works although illuminating was not my cup of tea. Thank you for the nice exhibition. I shall visit one more time before it is over.

Enjoyed it and wished I 'd left myself more time. As so often with recent exhibitions here and elsewhere, I have been particularly interested by artists' less known work. Also good to see the scales of pieces I already knew from reproductions.

I was highly impressed by this show. It was fairly exhaustive and definitely broadened my horizons with regards to Lichtenstein's work.

The evolution of his technique was interesting to witness, as was his familiarity and respect for other artists, as witnessed in his homages.

The pieces I was definitely most impressed by were the landscapes, Chinese landscapes and his final stroke works. There was a certain poignancy in the final abstract stroke works, almost as if he had closed a circle to return to the absolute of the stroke but yet incorporating it with the rigidness of his technicality.

I've definitely left feeling that I've learnt something and I'm keen to squeeze in another visit before it ends.

What really impressed me and my guest was that so many examples of his work, from throughout his career, had been assembled. Clearly a fantastic amount of work had gone into it, and we were profoundly grateful to all concerned.

I was n't overly familiar with the artist before visiting the exhibition but was very impressed both by the range of work on display and the varied use of colour throughout.