Modern Loveok

Ohhh…Alright painting byRoy Lichtenstein’s was created in 1964 using comics’images which was originally published by Arleigh Publishing Corp, (now part ofD.C. Comics).  Using a limited palette ofprimary colours that appear innocent in concept yet portray an element ofsexual attraction that somehow is confused with her distressed look. Usingblack paint as a contour to define the voluptuous red lips, almond shape blue eyes,tiny nose and floating hair red almost caught in an act of surprise, on a smallyellow background draws the viewer straight into her emotional state.

She frowns in an attempt to depict her anxious state,clutching the receiver, she offers many interpretations, but what comes to mindis that of a woman almostdesperate and entirely detached from the conversation. Ohhh…Alright…is suggestive, sensual and reflect awoman who’svulnerable, almost tearful but also composed, and in control of her emotions. Lichtenstein method is typical of severalpaintings where they seem to continue beyond the edges the canvas, given theimpression that woman are yet to be freed. Lichtenstein choice of paints and blackcontours clearly is drawn from the work of modernist Dutch artist PietMondrian. The points (or dots) although are magnified and cropped from the comics’image, using a variety of stencil techniques, are an interpretation of theImpressionist style and Monet in particular.

An image, cold and simple fire the imagination. Hiswork full of irony and wit, yet beautifully executed.The use of comics appealed to Lichtenstein,although he was not a fan he could never go back to the previous form of art ofhis early career. However he continues to interpret the work of Picasso andMatisse applying mechanical precision, to transform current commercial imagesinto art. He treated his work more as marks than a subject and rotating and viewedfrom various angles, almost to eliminate any excess or doubling of. He thrivedon contradiction and transformed his original sources of inspiration. Hebelieved that the position of lines is important rather than the character ofit.

Liechtenstein imitated the technique of mass production in the same way asmechanical reproduction has imitated the techniques of artists. His approach towork was enthusiastic and joyful, and by 1964 and despite the controversy aboutpop art, Lichtenstein reputation was established as one of the most iconic popartist.

Ohhh…Alright painting byRoy Lichtenstein’s was created in 1964 using comics’images which was originally published by Arleigh Publishing Corp, (now part ofD.C. Comics).  Using a limited palette ofprimary colours that appear innocent in concept yet portray an element ofsexual attraction that somehow is confused with her distressed look. Usingblack paint as a contour to define the voluptuous red lips, almond shape blue eyes,tiny nose and floating hair red almost caught in an act of surprise, on a smallyellow background draws the viewer straight into her emotional state.

She frowns in an attempt to depict her anxious state,clutching the receiver, she offers many interpretations, but what comes to mindis that of a woman almostdesperate and entirely detached from the conversation. Ohhh…Alright..

.is suggestive, sensual and reflect awoman who’svulnerable, almost tearful but also composed, and in control of her emotions. Lichtenstein method is typical of severalpaintings where they seem to continue beyond the edges the canvas, given theimpression that woman are yet to be freed. Lichtenstein choice of paints and blackcontours clearly is drawn from the work of modernist Dutch artist PietMondrian. The points (or dots) although are enlarged and cropped from originals,using various stencil techniques, are an interpretation of the Impressioniststyle and Monet in particular. An image, cold and simple fire the imagination. Hiswork full of irony and wit, yet marvelously executed.

The use of comics appealed to Lichtenstein, andtherefore he could never go back to the previous form of art of his earlycareer. However he continues to interpret the work of Picasso and Matisseapplying mechanical precision, to transform current commercial images into art.He treated his work more as marks than a subject and rotating and viewed fromvarious angles, almost to eliminate any excess or doubling of. He thrived oncontradiction and transformed his original sources of inspiration.

He consideredthat the position of lines is important rather than the character of it. Liechtensteinimitated the technique of mass production in the same way as mechanicalreproduction has imitated the techniques of artists. He approached his  work was enthusiasm and joy, and by 1964 anddespite the controversy about pop art, Lichtenstein reputation was establishedas one of the most iconic pop artist.