Ohhh…Alright points (or dots) although are blown

Ohhh…Alright painting by Roy Lichtenstein was created in 1964using comics’image, which was originally published by Arleigh Publishing Corp, (now part ofD.C.

Comics).  He uses limited palette ofprimary colours that appear innocent in concept yet portray an element ofsexual attraction that somehow is confused with the woman distressed look. Heapplies black paint as a contour to define the voluptuous red lips, almondshape blue eyes, tiny nose and floating hair red almost caught in an act ofsurprise, on a small yellow background instantly draws the viewer into thewoman’semotional state.

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She frowns in an attempt to depict her anxious state,clutching the receiver, she offers many interpretations, but what comes to mindis one and that of a woman almost desperate and entirely detached from theconversation. Ohhh…Alright…is suggestive, sensual and reflect awoman who’svulnerable, almost tearful but also composed, and in control of her emotions. Lichtenstein’s method is typical of several paintings wherethey seem to continue beyond the edges the canvas, and give the impression thatwoman are yet to be freed. Lichtenstein’s choice of paints not to mention the blackcontours clearly is drawn from the work of modernist Dutch artist PietMondrian. The points (or dots) although are blown up and cropped using comics’images and various stencil techniques, are an interpretation of theImpressionist style and Monet in particular.

An image, cold and simple fire the imagination. Hiswork is beautifully executed, yet full of irony and wit.Lichtenstein loved his new technique, andtherefore he could never go back to the previous form of art of his earlycareer. During his career he continues to be inspired by the work of Picassoand Matisse applying mechanical precision, to transform current commercialimages into art. He treated his work more as marks than a subject; he examineshis paintings from various angles, almost to eliminate any excess or doublingof. He thrived on opposites and transformed his original sources ofinspiration. He considered that the position of lines is important rather thanthe character of it.

Liechtenstein imitated the technique of mass production inthe same way as mechanical reproduction has imitated the techniques of artists.His approach to work was playful, and by 1964 and despite the controversy aboutpop art, Lichtenstein’sreputation was established as one of the most iconic pop artist.


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