Robert Longo

From Forty Are Better Than One
7-part leporello (accordion fold), digital pigment print (Ditone) on 308 g Hahnemühle Rag paper, 175 x 32 cm (69 x 12½ in). Edition: 75, signed and numbered.

In this edition, Robert Longo brings together symbolically charged black-and-white images: a piece of fabric, an ocean wave, a cloud, a child’s face, and a shark’s open mouth. A composition poised between beauty, threat, and vulnerability. The only accent of color is a vivid red rose in the center, acting like a visual pause. The sequence unfolds a quiet yet powerful dramaturgy. Essentials exemplifies Longo’s ability to fuse media-driven aesthetics with emotional and existential depth.

EUR 3,800

Portfolio of 13 digital pigment prints, on rag paper, different sizes from 76 x 55 to 109 x 162 cm (30 x 22 to 43 x 64 in), some prints in two parts. Edition of 30, signed and numbered.
If you're interested in this portfolio, we would be happy to send you an additional brochure about this work.

For his edition series The Freud Cycle, Robert Longo draws on historical photographs of Sigmund Freud’s Vienna apartment, taken under dramatic circumstances. After Freud – persecuted as a Jew in Nazi-occupied Vienna – was forced to emigrate in 1938, his apartment was sealed: steel barriers at the door, windows heavily shrouded, a place of silence and exclusion. Yet a photographer managed to gain access to the rooms. In the midst of darkness, he turned his camera toward Freud’s iconic objects – his couch, his bust, his books – capturing the charged atmosphere of an abandoned intellectual center.
Decades later, Robert Longo discovered these visual documents and was struck by their expressive intensity and historical weight. In his reinterpretation of the photographs for this edition, he translates the scenes into his signature visual language: deep black, hyperrealistic charcoal drawing. The work becomes a multilayered reflection on absence, memory, the darkness of Nazi crimes, and the psychological architecture of a place uniquely tied to the birth of psychoanalysis.

Lithograph on rag paper, 169 x 127 cm (66½ x 50 in). Edition of 35, signed and numbered. 

In this edition from 1989, Robert Longo presents a dark, inverted factory structure set against a bright, ethereal sky. The architectural elements in the lower part of the image evoke classical columns, creating a dynamic tension between ancient references and modern formal language. The stark contrast between the massive, shadowy form and the luminous background evokes themes such as power, decay, and transformation. Longo’s deliberate use of negative space intensifies the visual impact and lends the work a presence that feels both contemplative and monumental. Black Palms is one of Longo's first nonfigurative works. 

EUR 3,000

From: Men in the Cities
Set of 2 lithographs on rag paper, each print 182 x 91 cm (72 x 36 in), each signed and numbered. Edition of 48 + X.
 

The edition Meryl and Jonathan is part of Robert Longo's Men in the Cities, a series of works that brought him international acclaim in the 1980s. The monumental black-and-white drawings depict men and women in formal attire, caught in dramatic poses, as if performing an ecstatic dance – yet without music. The series is based on photographs Longo took between 1976 and 1982 on the rooftop of his New York loft. Friends such as Cindy Sherman, Larry Gagosian, and Glenn Branca had to dodge swinging or thrown objects – their spontaneous movements were captured by Longo and transformed into tension-filled drawings. The figures appear to be seized by invisible forces – symbols of the inner and outer pressures of modern life.

From: Men in the Cities
Set of 2 lithographs on rag paper, each print 182 x 91 cm (72 x 36 in), each signed and numbered. Edition of 48 + X.
 

The edition Gretchen and Eric is part of Robert Longo's Men in the Cities, a series of works that brought him international acclaim in the 1980s. The monumental black-and-white drawings depict men and women in formal attire, caught in dramatic poses, as if performing an ecstatic dance – yet without music. The series is based on photographs Longo took between 1976 and 1982 on the rooftop of his New York loft. Friends such as Cindy Sherman, Larry Gagosian, and Glenn Branca had to dodge swinging or thrown objects – their spontaneous movements were captured by Longo and transformed into tension-filled drawings. The figures appear to be seized by invisible forces – symbols of the inner and outer pressures of modern life.

From: Men in the Cities
Set of 2 lithographs on rag paper, each print 182 x 91 cm (72 x 36 in), each signed and numbered. Edition of 48 + X.
 

The edition Joanna and Larry is part of Robert Longo's Men in the Cities, a series of works that brought him international acclaim in the 1980s. The monumental black-and-white drawings depict men and women in formal attire, caught in dramatic poses, as if performing an ecstatic dance – yet without music. The series is based on photographs Longo took between 1976 and 1982 on the rooftop of his New York loft. Friends such as Cindy Sherman, Larry Gagosian (depicted in this work), and Glenn Branca had to dodge swinging or thrown objects – their spontaneous movements were captured by Longo and transformed into tension-filled drawings. The figures appear to be seized by invisible forces – symbols of the inner and outer pressures of modern life.

Black and white screenprint framed with red plexiglass, and gray-lacquered wall sculpture, overall size 182 x 81 cm. Edition: 15, signed and numbered on print; plus 3 trial proofs in different colors.

In this multi-media edition, Robert Longo stages a confrontation between institutional power and physical strength. At the top, a three-dimensional model of a neoclassical building – evocative of state authority and control; below, a bold image of a nude, muscular male torso printed on red Plexiglas, its assertive pose and heightened physicality echoing themes of dominance and potency. The composition sets up a dialogue between the structures of governance and the display of masculine power, forming a visual icon of “power”.