Close's technique has affinities to the work of other artists. The late 20th century American artist Roy Lichtenstein (1923-1997) used multiple small circles of variable size to mimic the elements of cartoon art. The pointillist artists who painted in France during the late 19th and early 20th centuries, such as Georges Seurat (1859-1891), also worked with small geometric forms. They were trying to find an alternative style but also sought a scientific means of mixing light rather than pigment. The early 20th century Austrian artist Gustav Klimt (1862-1918) incorporated geometric elements into many of his paintings. Brilliant irregular shapes, usually rectangles, cover much of the canvas in some of his portraits, most notably his masterpiece, the portrait Adele Bloch-Bauer I of 1907, which recently entered the collection of the Neue Galerie in New York. There is an even earlier precedent. Mosaics from Greek and Roman antiquity were made of stone, metal, and glass fragments, and their regularly spaced, colored elements are comparable with Close's technique. However, when we asked Close if any of these earlier approaches influenced him, he replied that he was not thinking of any of them when developing his style. Certainly, he knew of these predecessors. He explained that he was working from photographs and was aware of the small, regular elements that are visible in photomechanical reproductions of magazine and newspaper illustration. Initially, his goal was to recreate an enlargement of a photographic image on canvas, which evolved into his current, pixelated format.