Cathedral #6, State II (C.82) presents the Rouen façade in a deep red palette — the final chromatic state in Lichtenstein's Cathedral Series, and the most tonally saturated of the three Cathedral #6 variants. Against the burgundy ground the architectural detail is as deeply submerged as in Cathedral #6 (C.80) itself, the dot pattern consuming the subject while the colour asserts itself with an intensity that gives the work a presence beyond its relatively small dimensions. The deep red state was the most dramatically different from the naturalistic colour range of Monet's originals — further from French daylight than even the olive of Cathedral #5. Lichtenstein's colour choices across the Cathedral Series formed a detailed survey that moved from the warm and relatively naturalistic (pale yellow in Cathedral #1) through increasingly arbitrary and anti-naturalistic ranges (the olive, the navy, the deep red), demonstrating at each step that the colour codes of Impressionism were constructed. Cathedral #6, State II (C.82) brought the Cathedral Series to its chromatic terminus with a colour that was the most arbitrary and the most assertive in the group. The burgundy red declared its own independence from the subject with unmistakable clarity, the cathedral present beneath it as a faint architectural ghost within a field of pure printed colour.

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