Landscape 5 (C.55) deploys the most materially complex substrate in Roy Lichtenstein's Ten Landscapes Series: pink moiré Rowlux screenprinted over blue moiré Rowlux collage, the two interference-pattern materials layered to yield a surface that shifts through multiple colours and optical effects as the viewing angle changes.

The work presents swirling, organic forms in a palette of deep rose and blue-green whose instability is built into the material, not achieved through colour mixing. This layering of moiré materials was among the most technically ambitious moves in the series.

Lichtenstein was working at the intersection of print, collage, and optical art, using industrial materials in ways that yielded effects no traditional printmaking technique could replicate.

The Ten Landscapes were in this sense as much an investigation of what new materials could do as they were a position on how to show a landscape via a Pop-Art lens.

By 1967 Lichtenstein had demonstrated the range of his print output across multiple series, and the Ten Landscapes represented a moment of deliberate technical expansion.

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