TITLE: Study for “A Sunday Afternoon on La Grande Jatte”

Total Page:16

File Type:pdf, Size:1020Kb

TITLE: Study for “A Sunday Afternoon on La Grande Jatte” Painting: Whaam! Artist: Roy Lichtenstein (1923-1997) Year Painted: 1963 Medium: acrylic paint on canvas Background Information on the artist: Roy Lichtenstein was born in New York City in 1923. He grew up in an upper- middle class family. Roy was always interested in drawing, mechanics and natural science. He pored over science magazines, and happened to live near the American Museum of Natural History in Manhattan. He would visit the museum every chance he could. He loved exploring the great halls, looking at Egyptian mummies, animals and plants, dinosaurs and bugs. Television hadn’t been invented yet, so at home Roy would listen to radio programs. He loved the Science Fiction/Superhero ones, like Flash Gordon. Roy also LOVED comics and comic books. He became interested in art as a hobby because it wasn’t offered at his school. He took lessons on his own. After college, Roy became an art teacher. This way he could earn a living while he was creating his own paintings. One day for fun, Roy made a large painting of a funny cartoon with Mickey Mouse and Donald Duck in it. It looked a lot like a section from a comic strip. He made his colors flat and smooth without any brush strokes, he wanted it to look like a machine had printed it. He even included something called “Benday Dots” which are little printer dots that a machine uses for color. Roy, however, painted his dots by hand. When he was finished, he loved what he had created. He brought some similar pieces to an art dealer, who also loved them, and the rest is history! Roy is one of the few artists that became famous during his lifetime. In fact, Pop Artists such as Roy and Andy Warhol were huge celebrities in the 1960s. Roy was an extremely prolific artist and his paintings are still very desirable. By the time Roy died in 1997, he had become one of the world’s best-loved artists. Background Information on Pop Art: Pop Art is short for Popular Art in which images from advertising, movies and popular culture are depicted in the artwork. (Think Andy Warhol’s Marilyn Monroe and Campbell Soup Cans). Up until the 1960s modern art was Abstract Expressionism, like Jackson Pollock where the paint is splattered across a canvas in order to “show an innermost feeling.” Lichtenstein wanted art to be relaxed and fun again. He helped start this whole new style of art called “Pop Art.” Pop Art appealed to people for its easily recognized subject matter and its bright colors which echoed what was happening in fashion and music during the psychedelic 60s. Pop artists made paintings that were big, bright and bold, celebrating this new, hip, modern way of life. About the Painting: “Whaam!” is Lichtenstein’s most famous and important piece. It is one of the earliest forms of Pop Art. The actual painting is more than 12-feet wide and almost 6-feet long. The colors are simple, flat, and eye-catching. Everything is outlined in black, so the images stand out clearly. Most of his early pop-art works are relatively close, but not exact copies of comic book panels. This painting is comprised of two frames, mimicking a comic strip. The inspiration was a comic-book picture from “All American Men of War” published in 1962 by DC comics. The painting shows a rocket being fired by a fighter plane towards an enemy plane along with a red-yellow explosion. The picture is simplified, broken down into simple, primary colors, dark red, yellow, white, black, and gray. Some areas are painted solid colors and some are Benday dots. Roy uses solid colors for emphasis. Our eye is drawn to the explosion: the focal point of the work by this use of solid paint and bright color. The word WHAAM! also tells us where Roy wanted the viewer to look. The perspective is essentially eye-level with the fighter pilot. The artist is inviting the viewer to be a true part of the action, not just an observer. Roy wants us to cheer for the fighter pilot on the left. He leaves no question as to what the pilot is doing. He paints a yellow thought bubble over the jet. The pilot sounds calm, cool and collected. He is not afraid, nor does he question his mission. He is a true war hero, unwavering in the face of danger and adversity. The message is stated as simply as the painting. Good triumphs over evil. Right destroys Wrong. The painting captures the height of the battle. We assume that the fighter jets have been engaged in combat for a while. We arrive at the very second the battle ends. We can imagine the rush of adrenaline and fierce speed in which the pilots are engaged. Just ask the kids: It’s an exciting painting. Discussion Questions for the kids: Why do you think the artist painted the painting in two panels? To make it look like a comic book. Why did the artist paint the panels so large when comic books are so small? To make more of an impact on the viewer. The action seems bigger and more intense when the artwork is larger. How do Benday Dots work? Walk up close to the painting. How do the dots look? Very visible. Now, walk away from the painting, what happens to the dots? They blend together and look like softer, solid colors. We can tell the two panels work together. What unites them? The plane is pointed in the direction of the explosion and you can see the plane has fired in the direction of the other fighter jet. What if there was a third and fourth panel. What do you think might happen in the next panel? Maybe the fighter plane flies home because he’s completed the mission, or really, anything is correct. Take away one of the panels. How does that change the composition of the painting? The “story” is now incomplete. Either we don’t know at what the jet is firing, or we don’t know what caused the explosion. Look closely at the painting, and then close your eyes. What kind of sounds would you hear? The whoosh of the plane, the loud, explosion, then silence maybe….. Let’s re-read the yellow word bubble. What are some other things the word panel might read to have the same meaning? For example, “I knew I had finally caught him, and I would be victorious…” or whatever What if we change the words in the bubble? For example, “Nervously I grasped the trigger, with my eyes closed I pressed the fire control…” How does that change the feel of the painting? The jet pilot is now anxious and hesitant, no longer strong and confident. Do you like this painting? Why or why not? Would you want it hanging in your home? If you were a Pop Artist today, what current popular figures could be used today? Derek Jeter, Eli Manning, Taylor Swift, Katy Perry, Justin Bieber, One Direction, Harry Potter, etc. .
Recommended publications
  • Art: the Future Is Comics Gabriel Galway
    Art: The Future is Comics Gabriel Galway Art: The Future is Comics My second year project in college was to create a graphic novel about my life. In earlier discussions with my tutors I was trying to convince them that comics are an art form. They were not convinced and could not understand such a concept and disagreed. I was advised to try and explore a different avenue. However, in later discussions I told my tutors that “each panel would be an individual painting or piece of art in itself, and that the “graphic novel” would be “the gallery space”.” They agreed that this could be art but perhaps only under these conditions. Comics are a form of high art. The Last Supper, Leonardo Da Vinci, 1495–1498 Art: The Future is Comics Gabriel Galway Arkham Asylum: a serious house on serious earth, Grant Morrison & Dave McKean, 1989 To paraphrase Joseph Campbell: true Art should stop you, not move you. There is no reason why the image above from Grant Morrison and Dave McKean’s “Arkham Asylum” should not be considered a form of fine art like Leonardo Divinci’s “Last Supper”. “Comics”, have developed a bad reputation of being considered cheap and trashy books made to be sold to kids in order to make money. Perhaps they once were; bad stories, with terrible illustrations printed on cheap newsprint. Because of this fact that defines comics so narrowly we fail to understand their true potential. Comics have come a long way and have proven their potential to be considered a form of fine art.
    [Show full text]
  • Painterly Representation in New York: 1945-1975
    PAINTERLY REPRESENTATION IN NEW YORK, 1945-1975 by JENNIFER SACHS SAMET A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 © 2010 JENNIFER SACHS SAMET All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Dr. Patricia Mainardi Chair of the Examining Committee Date Dr. Patricia Mainardi Acting Executive Officer Dr. Katherine Manthorne Dr. Rose-Carol Washton Long Ms. Martica Sawin Supervision Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract PAINTERLY REPRESENTATION IN NEW YORK, 1945-1975 by JENNIFER SACHS SAMET Advisor: Professor Patricia Mainardi Although the myth persists that figurative painting in New York did not exist after the age of Abstract Expressionism, many artists in fact worked with a painterly, representational vocabulary during this period and throughout the 1960s and 1970s. This dissertation is the first survey of a group of painters working in this mode, all born around the 1920s and living in New York. Several, though not all, were students of Hans Hofmann; most knew one another; some were close friends or colleagues as art teachers. I highlight nine artists: Rosemarie Beck (1923-2003), Leland Bell (1922-1991), Nell Blaine (1922-1996), Robert De Niro (1922-1993), Paul Georges (1923-2002), Albert Kresch (b. 1922), Mercedes Matter (1913-2001), Louisa Matthiasdottir (1917-2000), and Paul Resika (b. 1928). This group of artists has been marginalized in standard art historical surveys and accounts of the period.
    [Show full text]
  • Creativity As Concept DISSERTATION Presented in Partial Fulfillment Of
    Creativity As Concept DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Michael Scott Kellner Graduate Program in Arts Administration, Education, and Policy The Ohio State University 2014 Dissertation Committee: Sydney Walker, Advisor Philip Armstrong Michael Mercil Jack Richardson Copyright by Michael Scott Kellner 2014 Abstract The problem this dissertation addresses is the over-determined understanding of creativity in contemporary Western culture. I argue that popularized scientific understandings of creativity limit both the historical understanding of the term, as well as its potential. This dissertation utilizes a methodology that draws from the work of the philosopher Gilles Deleuze and the psychoanalyst Felix Guattari. The duo, working in conjunction with one another, develops an understanding of a philosophical “concept.” According to the authors, a “concept” is encyclopedic and multidimensional; when a concept becomes “commercial professionalized training” it is robbed of its encyclopedic form. Therefore, by employing the concept as a methodology that addresses creativity, I work to resist easily definable ideas of creativity; in other words, the task of the concept is to keep creativity as encyclopedic as possible. This dissertation employs the concept in two ways. First, I present a series of three conceptual arguments utilizing historical understandings of creativity in Western culture. In the first conceptual argument, creativity requires a structure to make itself manifest; in turn, the results of the creative act often reify this structure. As part of this argument, an individual’s refusal of some dominant ii socio-cultural parameters can create a space where other, previously less visible, socio-cultural parameters are brought to attention.
    [Show full text]
  • Art of the Sixties and Seventies Minimalism
    Art of the Sixties and Seventies Minimalism Minimalism originated in New York City in the 1950s and became a major trend in the 1960s and 70s. characterized by extreme simplicity of form as by the use of basic shapes and monochromatic palettes of primary colors, and rejection of emotional content. The minimalist work is set out to expose the essence, essentials or identity of a subject through eliminating all non-essential forms, features or concepts. The Minimalists believed that a work of art should be entirely self- referential; personal elements were stripped away to reveal the objective, purely visual elements. The intention of minimalist artists is to allow the audience to view a composition more intensely because the distractions of theme etc. have been removed. TONY SMITH, Die, 1962. Steel, 6’ x 6’ x 6’. Museum of Modern Art, New York DONALD JUDD, Untitled, 1969. Brass and colored fluorescent plexiglass on steel brackets, ten units, 6 1/8” x 2’ x 2’ 3” each, with 60 intervals. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington Marcel Duchamp, The Fountain, 1917 Kasimir Malevich Black Square on a White Ground (1914-1915) Oil on linen, 80x80cm Barnett Newman, Vir Heroicus Sublimis ("Man, heroic and sublime“), 1950–1951. Oil on canvas, 7’ 11 3/8” x 17’ 9 1/4”. Tony Smith, Die, 1962. Steel, 6’ x 6’ x 6’. MAYA YING LIN, Vietnam Veterans Memorial, Washington, D.C., 1981–1983. Black granite, each wing 246’ long. Aerial view of the Vietnam Veterans Memorial Maya Lin with a model of the Vietnam Veterans Memorial, 1980.
    [Show full text]
  • Art in Embassies Exhibition United States Embassy Pristina Art in Embassies
    ART IN EMBASSIES EXHIBITION UNITED STATES EMBASSY PRISTINA ART IN EMBASSIES Established in 1963, the U.S. Department of State’s office of Art in Embassies (AIE) plays a vital role in our nation’s public diplomacy through a culturally expansive mission, creating temporary and perma- nent exhibitions, artist programming, and publications. The Museum of Modern Art first envisioned this global visual arts program a decade earlier. In the early 1960s, President John F. Kennedy formalized it, naming the program’s first director. Now with over 200 venues, AIE curates temporary and permanent exhibitions for the representational spaces of all U.S. chanceries, consulates, and embassy residences worldwide, selecting and commissioning contemporary art from the U.S. and the host countries. These exhibitions provide international audiences with a sense of the quality, scope, and diversity of both countries’ art and culture, establishing AIE’s presence in more countries than any other U.S. foundation or arts organization. AIE’s exhibitions allow foreign citizens, many of whom might never travel to the United States, to personally experience the depth and breadth of our artistic heritage and values, making what has been called a: “footprint that can be left where people have no opportunity to see American art.” “For over fifty years, Art in Embassies has played an active diplomatic role by creating meaningful cultural exchange through the visual arts. The exhibitions, permanent collections and artist exchanges connect people from the farthest corners of an inter- national community. Extending our reach, amplifying our voice, and demonstrating Cover our inclusiveness are strategic imperatives for America.
    [Show full text]
  • Critique D'art, 46
    Critique d’art Actualité internationale de la littérature critique sur l’art contemporain 46 | Printemps/Eté 2016 CRITIQUE D'ART 46 Actualité internationale de la littérature critique sur l'art contemporain The International Review of Contemporary Art Criticism Édition électronique URL : http://journals.openedition.org/critiquedart/21146 DOI : 10.4000/critiquedart.21146 ISBN : 2265-9404 ISSN : 2265-9404 Éditeur Groupement d'intérêt scientifique (GIS) Archives de la critique d’art Édition imprimée Date de publication : 20 mai 2016 ISBN : 1246-8258 ISSN : 1246-8258 Référence électronique Critique d’art, 46 | Printemps/Eté 2016, « CRITIQUE D'ART 46 » [En ligne], mis en ligne le 20 mai 2017, consulté le 29 septembre 2020. URL : http://journals.openedition.org/critiquedart/21146 ; DOI : https://doi.org/10.4000/critiquedart.21146 Ce document a été généré automatiquement le 29 septembre 2020. EN 1 SOMMAIRE Editorial / Editorial L’Autonomie n’est pas liée au seul pouvoir de dépossession de l’autre Jean-Marc Poinsot Autonomy is not to do just with the power to dispossess the other Jean-Marc Poinsot Articles / Articles Quelles orientations à la désorientation ? Elvan Zabunyan What Orientations for Disorientation? Elvan Zabunyan Réviser le canon, revivre les mondes arabes Morad Montazami Revising the Canon, Resurrecting Arab Worlds Morad Montazami Contre-culture, féminisme et politique : les enjeux du Pop art au prisme du global Marine Schütz Counter-culture, Feminism and Politics: the challenges of Pop art seen through the global lens Marine Schütz Les Images techniques et leur médium. Exposer la pensée de Vilém Flusser Riccardo Venturi Technical Images and their Medium. How to Display Vilém Flusser’s Thinking Riccardo Venturi Une Œuvre irréductible.
    [Show full text]
  • Commodity and Abjection
    SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Commodity and Abjection: A Psycho-social Investigation of Pop Culture Imagery in the Artwork of Paul McCarthy A Dissertation Presented by Robert Rand Shane to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Art History and Criticism Stony Brook University May 2009 Copyright by Robert Rand Shane 2009 Stony Brook University The Graduate School Robert Rand Shane We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, Hereby recommend acceptance of this dissertation. Donald B. Kuspit --- Advisor Distinguished Professor of Art History and Philosophy, Art Department Michele H. Bogart --- Chairperson of Defense Professor of Art History, Art Department Anita Moskowitz Professor of Art History and Chairperson, Art Department Steven Poser Psychoanalysis Center for Modern Psychoanalytic Studies, New York, NY This dissertation is accepted by the Graduate School Lawrence Martin Dean of the Graduate School ii Abstract of the Dissertation Commodity and Abjection: A psycho-social investigation of pop culture imagery in the artwork of Paul McCarthy by Robert Rand Shane Doctor of Philosophy in Art History and Criticism Stony Brook University 2009 American artist Paul McCarthy (born 1945) is most well known for his live and video-taped performances in which he plays with mass-produced food products such as ketchup or chocolate syrup. In these scatological works McCarthy parodies characters from popular culture, such as Disney’s Pinocchio, while simultaneously referencing family figures from his childhood.
    [Show full text]
  • Pop Art and the Contest Over American Culture Sara Doris Frontmatter More Information
    Cambridge University Press 978-0-521-83658-6 - Pop Art and the Contest over American Culture Sara Doris Frontmatter More information POP ART AND THE CONTEST OVER AMERICAN CULTURE Pop Art and the Contest over American Culture examines the socially and aesthetically subver- sive character of the movement that transformed American art and culture in the 1960s. Providing a historically contextualized reading of American pop art, Sara Doris locates the movement within the larger framework of the social, cultural, and political transfor- mations of that decade. Pop’s use of discredited mass-cultural imagery and its affinities with marginalized forms of taste – gay camp and youth culture – worked to challenge established social and cultural hierarchies. What was really at stake, Doris argues, was not so much the definition of culture, but rather who would be permitted to define it. By analyzing pop art within the context of the broader social upheavals of the 1960s, this study establishes that it was not only a significant catalyst of those transformations, but that it profoundly shaped the postmodern culture in which we now live. Sara Doris is assistant professor of contemporary art at the University of Memphis. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-83658-6 - Pop Art and the Contest over American Culture Sara Doris Frontmatter More information POP ART AND THE CONTEST OVER AMERICAN CULTURE ᨖ Sara Doris University of Memphis © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-83658-6 - Pop Art and the Contest over American Culture Sara Doris Frontmatter More information cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao˜ Paulo Cambridge University Press 32 Avenue of the Americas, New York, NY 10013-2473, USA www.cambridge.org Information on this title: www.cambridge.org/9780521836586 c Sara Doris 2007 This publication is in copyright.
    [Show full text]
  • Pogo, Pop and Politics: Robert Benayoun on Comics and Roy Lichtenstein
    Pogo, Pop and Politics: Robert Benayoun on Comics and Roy Lichtenstein Gavin Parkinson Abstract This article examines for the first time the writings on comics and pop art by the surrealist Robert Benayoun in the 1950s and 1960s. Analysing Benayoun’s repudiation of Roy Lichtenstein’s work especially, it argues that these writings offer one means of navigating the rarely assessed overlap between surrealism and pop. Benayoun claimed immense significance for comics and derided Lichtenstein’s appropriation of the form from a politi- cal position gained from his immersion in surrealism; this position is only fully understandable through examination of surrealism’s theory of culture and its historical and cultural context of the 1950s and 1960s. Ultimately, I want to show not only why surrealism prefers Pogo to pop and Li’l Abner to Lichtenstein, but also how its occultist theory can accommodate culture where pop art sustains a conflict, in spite of what many have perceived as the collapse of high and low in pop. Keywords: Benayoun, high and low culture, Lichtenstein, pop art, surrealism Surrealism, Comics and Politics There was never a published debate or enquiry on comics within the Paris surrealist group, or even an authoritative statement from any single French surrealist that might have led to an agreed position, as there were at one time or another on artistic practice and on many indi- vidual artists, as well as on poetry, the novel, psychoanalysis, the occult, communism, the Algerian War and any number of other individuals, practices, genres, events or incidents. Moreover, the poet André Breton, who is usually identified as the leading spokesperson and theorist of European Comic Art Volume 9 Number 2, Autumn 2016: 27–58 doi:10.3167/eca.2016.090203 ISSN 1754-3797 (Print), ISSN 1754-3800 (Online) 28 GAVIN PARKINSON surrealism, seems to have disliked comics, if we are to believe the tes- timony of the surrealists’ favourite editor, Éric Losfeld: Breton dédaignait la bande dessinée.
    [Show full text]
  • Meet the Masters April Program Grade 8: Pop Art - 1960Fs Style
    Meet the Masters April Program Grade 8: Pop Art - 1960fs Style Andy Warhol "Old Fashioned Vegetable" Roy Liechtenstein "Whaam" About the Artist: See the following pages. About the Artwork; The period of art that we are discussing is "Pop Art". This was the strongest art movement of the 1960fs. Although the Pop Art movement began in Britain in the 1950's, American artists took the movement as their own in the decade of the 60fs. This was an art that had a natural appeal to American artists, living in the midst of the most blatant and pervasive industrial and commercial environment. Many of the images used by the British Pop artists were derived from the American commercials, popular idols, comic strips and motion pictures. American Pop Art was a reaction against the Abstract Expressionism that had dominated American painting in the 1940's and 1950fs. Abstract Expressionism generally was non-objective with an emphasis on the expression of the artist through the inherent properties of the paint. These artists generally produce very large-scale works. The Pop artists were concerned with revealing the world they knew which was commercial, mass produced and many times mechanistic. Topics for Discussion: 1. Do you think the Pop artists changed the way people look at everyday objects? 2. What do you think of their artwork? 3. Would you want to have this art in your home? Why? Hands-on Art Activity: Enlarged Comics Teacher Preparation: Students will choose a small section of the cartoon to enlarge to the size of the II" x 14" paper.
    [Show full text]
  • Roy Lichtenstein Resource Pack About This Resource Contents
    ARTIST ROOMS ROY LICHTENSTEIN RESOURCE PACK ABOUT THIS RESOURCE CONTENTS Roy Lichtenstein was one of the most influential What is ARTIST ROOMS? 03 American artists to emerge in the post-war period. ARTIST ROOMS currently holds a collection of late Roy Lichtenstein 04 screenprints by Lichtenstein on long-term loan from the Roy Lichtenstein Foundation, while the painting 1. POP 06 Reflections: ART, 1988 is lent by a private collection, courtesy of the Roy Lichtenstein Foundation, 2015. 2. PROCESS 09 This ARTIST ROOMS collection of works by Roy Lichtenstein has been made possible thanks 3. ON ART 12 to the generosity of the Roy Lichtenstein Foundation. In addition to the works on loan to the ARTIST ROOMS 4. MUSIC 15 collection, Lichtenstein is a significant artist in both National Galleries of Scotland’s and Tate’s collections. 5. THE NUDE 17 National Galleries of Scotland holds the important early comic book painting, In the Car, 1963 along with 6. REFLECTIONS 20 two prints, and an example of wallpaper produced by the artist in 1968. Tate holds 35 works by Lichtenstein 7. TEXT AND ART 23 including the iconic Whaam!, 1963, Wall Explosion II, 1965 and Interior with Waterlilies, 1991. Find Out More 25 This resource is designed to aid teachers and students Glossary 26 using the ARTIST ROOMS Roy Lichtenstein collection. The resource focuses on specific works and themes and suggests areas of discussion, activities and links to other artists in the collection. For schools, the work of Roy Lichtenstein presents a good opportunity to explore cross-curricula learning. The themes in Lichtenstein’s work can be linked to curricula areas such as English, mathematics, health and wellbeing, social studies, citizenship and science.
    [Show full text]
  • Gagosian Gallery
    The New York Times October 18, 2012 GAGOSIAN GALLERY Cool. Commercial. Unmistakable. By Holland Cotter Brendan Hoffman for The New York Times. The exhibition includes “TorpedoLos!,” center, and “Varoom!” to its immediate left. WASHINGTON — Like a champion gymnast perfecting a winning routine, Roy Lichtenstein developed a deft, tight, virtually foolproof art style, one that was based on agility rather than brawn and, though narrow in range, was capable of surprising variations and extensions. The look of this art isn’t big, but it’s smart; cool and dry, but accessible. Connoisseurs and know- nothings alike can enjoy it, and for some of the same reasons. And there’s the recognition factor: very high. Once you’ve encountered his work, you’d know it anywhere. Catch a glimpse of a Lichtenstein out of the corner of your eye from a moving cab, and it will register, half-seen. “Roy Lichtenstein: A Retrospective,” a traveling exhibition now at the National Gallery of Art here, is the first major survey of his work since his death, at 73, in 1997. It’s a big show and has a few slow spots, but on the whole it moves right along. Its 14 thematic sections have been edited with less-is-more dispatch. There aren’t many labels to detain you. Most important, Lichtenstein’s large-featured images, with their Ben-Day dot patterns; thick, black contours; and flat, bright colors are almost ergonomically comfortable to the eye. Lichtenstein, born and raised in Manhattan, was focused on art from the start. Barely out of high school, he enrolled at the Art Students League and studied painting with Reginald Marsh.
    [Show full text]