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Ohhh…alright and despite the controversy about pop art,

Ohhh.

.. Alright painting isone of the many work created by Roy Lichtenstein’s After 1963 using comics’images which was derived from June 1963 edition of Secret Hearts #88 by ArleighPublishing Corp, (now part of D. C. Comics).  Using a limited palette of primary colours thatappear innocent in concept yet portray an element of sexual attraction thatsomehow is confused with her distressed look.

Using black paint as a contour todefine the voluptuous red lips, almond shape blue eyes, tiny nose and floatinghair red almost caught in an act of surprise, on a background of yellow thatsomehow is insignificant and draws the viewer straight into her emotionalstate. Her eyebrow raised in attempt to depict heranxious beautiful face, clutching the reciver, offer many interpretations, butto mind of that is a woman almostdesperate and entirely engaged with the object rather that with person on theother end of the line. Such iconic work is typical of several paintingsby Lichtenstein that are cropped while the edges flow beyond the canvas. Although painted in the early sixties and seems to reflect the constraintsviews held on women in the previous decade, Lichtenstein choice of colours andflat style clearly drawn from the work of famous modernist Dutch artist PietMondrian. Yet using dots that are magnified and cut from the original comicsLichtenstein creates an image with a variety of stencil techniques, reelectingthe times that were conceived and with that establishes himself among to A listof pop artists. Applied with mechanical precision, he transformed commercialimages into art.

Ohhh…Alright…

issuggestive, sensual and reflect a woman who’s vulnerable, almost tearful but also composed, and in control of her emotions. An image, with coldness and simplicity evokesemotions and fire the imagination. Abstracts artists would have possiblyfounded it upsetting as they saw their whole world of anguish vanish with thiswork of irony and witty yet beautifully executed. The use of comics appealed toLichtenstein, although he was not a fan and he could never go back to theprevious form of art of his early career. However the influence of Picasso washighly evident in his work so as Matisse and Monet. His approach to work was joyful and playful, andby 1964 and despite the controversy about pop art, Lichtenstein name was knowninternationally among the art scene. He treated his work more as marks than asubject and viewed it upside down and reflected in mirrors, almost to eliminateany excess or doubling of. He thrived on contradiction and transformed hisoriginal sources of inspiration.

He believed that the position of lines isimportant rather than the character of it.   While Liechtenstein painted the world as a comicstrip, he imitated the technique of mass production in the same way asmechanical reproduction has imitated the techniques of artists.

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