638:(1965), in which he parodied the sweeping brushstrokes made by Abstract Expressionists with house-painter's brushes. The double paradox was that of representing an apparently spontaneous mark by rendering it in graphic language as a series of painstaking operations, but making the result look so effortless and mechanical that it might all have been printed by a single touch. As immediate as their impact, legibility of image and humour as any of his comic-strip paintings, these pictures pose serious questions about the artistic process and in particular about the interaction of idea, invention and execution.
261:, by confronting the state of the art world, Lichtenstein reinforces its vitality: "...the vocabulary of Abstract Expressionism, attacked implicitly in Lichtenstein's earlier work, now becomes the explicit subject. With disarming paradox, the impulsive, athletic smears and spatterings of the 1950s are here impersonally hardened and industrialized by being seen through Lichtenstein's lens of commercial imagery. The results are not only witty in their use of art to comment about art, but even revive, most ironically, the pictorial energy and boldness of the style being parodied."
474:. 72 (October 1964). One scene shows an exhausted yet relieved artist who has just completed a painting. This depicts two massive brushstrokes that take up the entire surface area. The absurdity of using a small paintbrush to create an image of two monumental brushstrokes was explored in many different variations. Transforming an expressive act that was mythologized for its immediacy and primal origins into a cartoon-like, mechanically produced-looking image. Lichtenstein created a reflexive commentary on gestural painting.
594:
looking at an imitation of real brushstrokes, but at a reproduction of such an imitation. We are therefore two stages removed from the originals (and of course the reproduction in this book takes us yet another stage from that source). A further pictorial witticism arises from the fact that in their original form
Abstract Expressionist brushstrokes would have been created in seconds, whereas Lichtenstein's marks took days to create because of their size, detailing and relative complexity.
565:. This painting refers to the popular conception of Abstract Expressionist works: their large size broad brushstrokes, drips. But Lichtenstein's painting is all neat and clean. Since the simplification refers to printed color reproductions, Lichtenstein paints in the benday dots of the mechanical process. The affective content of an action painting is replaced by a painted image that, paradoxically, resembles an industrial product.
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But
Lichtenstein's is also a difficult art in that his humour and use of the found image is unexpectedly subtle for its obstreperous vehicle: at times it is 'in' humour — based on references to friends or to other paintings. Examples are...or the 1965 Big Painting (Ill. 67), with the gestural swathes
264:
He uses overlapping forms rather than a single form or distinct adjacent forms, which seems to create a more dynamic feel to the shallow space. However, since
Lichtenstein does not uses shading or contrast, the monochromatic strokes with just bold black outlines are void of certain elements of depth.
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background with four layered vigorous brushstrokes atop them in white, yellow, green, and red. The focal point is the topmost central red brushstroke that depicts dripping paint. The black contours contribute a dynamic effect to the two-dimensional work. The subject of the painting is the process of
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Here
Lichtenstein emulated the appearance of four typical Abstract Expressionistic brushstrokes, complete with drips except that he did so on a vast scale in comparison with such marks in reality. He also set them against a background of Benday dots which brings into play the notion that we are not
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is the result of producing "...whiplash, abstract expressionist works with his quasi-mechanical means..." Lichtenstein's form of
Abstract Expressionism uses a "quasi-mechanical" method to conform "the spontaneous, loaded brushstroke to his own comic-strip and Ben Day formula". One critic considers
884:
The process of painting is the subject matter in Roy
Lichtenstein's Big Painting No. 6. This painting refers to the popular conception of Abstract Expressionist works: their large size broad brushstrokes, drips. But Lichtenstein's painting is all neat and clean. Since the simplification refers to
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This arrangement of dense, impacted forms creates the illusion of active shapes in a shallow space; but because they lack any sense of relief or depth and have been reduced to flat colors and a single bold outline, without any subtle contrasts between light and shade, they read as flat forms on a
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is a prime example of his works that both turned a mundane household task into a planned artistic operation and made a time-consuming task appear as if it was produced mechanically in an instant. The painting is regarded as an example of his subtle humor expressed as "gestural swathes rendered in
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is depicts imitations of what could be typical
Abstract Expressionist brushstrokes on an extremely large scale. Since it is depicted as a reproduction of an imitation the painting is two steps removed from an original. While each Abstract Expressionist brushstroke is an instantaneous effort, the
31:
123:
that includes several paintings and sculptures whose subject is the actions made with a house-painter's brush. It set a record auction price for a painting by a living
American artist when it sold for $ 75,000 in 1970. The painting is in the
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printed color reproductions, Lichtenstein paints in the benday dots of the mechanical process. The affective content of an Action
Painting is replaced by a painted image that, paradoxically, resembles an industrial product.
147:
works it is a depiction of mechanical reproduction via painterly technique. In this case, the satire comes from the depiction of the graphical depiction of the spontaneous painting motion in painstaking painterly detail.
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painting via sweeping brushstrokes and drips, but the result of
Lichtenstein's simplification that uses a Ben-Day dots background is a representation of the mechanical/industrial color printing reproduction.
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How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda
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established the record auction price for a painting by a living American artist with a $ 60,000 (US$ 470,746 in 2023 dollars) sale of
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How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States
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that Lichtenstein has converted the wide dripping brush strokes into a tidy work representing mass production.
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satire includes the fact that Lichtenstein took a great deal of time to achieve the complicated reproduction.
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go one step further in terms of canvas size and dynamic activity that was presented earlier in
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is one of several paintings—of which other examples are the large canvas of the same year,
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with an auction sale for $ 75,000 (US$ 588,432 in 2023 dollars) to German art dealer
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112:. Measuring 235 cm Ă— 330 cm (92.5 in Ă— 129 in), it is part of the
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235 cm Ă— 330 cm (92.5 in Ă— 129 in)
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Selz, Peter (1981). "The 1960s: Painting". In Freeman, Phyllis (ed.).
174:, the preeminent American auction house of the day (later acquired by
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In 1965–66 Lichtenstein painted a series of large canvases, such as
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The process of painting is the subject matter in Roy Lichtenstein's
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paintings was initiated after he saw a cartoon in Charlton Comics'
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Rosenblum, Robert. Boatto, Alberto and Giordano Falzoni (ed.).
178:). This record was broken in November 1970 by Lichtenstein's
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Big Campbell's Soup Can with Torn Label (Vegetable Beef)
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Begun in the autumn of 1965, Lichtenstein's series of
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commercial harshness as a parody of action painting."
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I Can See the Whole Room...and There's Nobody in It!
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413:"Record Prices for Art Auction at New York Auction"
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681:(International ed.). Fantazaria. p. 110.
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135:works, it is in part a satirical response to the
661:rendered in commercial harshness as a parody of
108:) is a 1965 oil and Magna on canvas painting by
870:Art in Our Times: A Pictorial History 1890–1980
543:Art In Our Times: A Pictorial History 1890–1980
581:. Parkstone Press International. p. 125.
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541:Selz, Peter (1981). "The 1960s: Painting".
516:"Roy Lichtenstein: Big Painting No 6, 1965"
990:
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650:Lippard, Lucy R. (1970). "New York Pop".
489:. Lichtenstein Foundation. Archived from
440:Foster, Hal (2010). Francis, Mark (ed.).
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362:"Consumer Price Index (estimate) 1800–"
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1398:Large Interior with Three Reflections
360:Federal Reserve Bank of Minneapolis.
7:
1278:Oh, Jeff...I Love You, Too...But...
701:(fig. 130), and the aforementioned
577:Shanes, Eric (2009). "The Plates".
14:
1374:Artist's Studio—Look Mickey
411:Hahn, Susan (November 19, 1970).
213:Kunstsammlung Nordrhein-Westfalen
126:Kunstsammlung Nordrhein-Westfalen
80:Kunstsammlung Nordrhein-Westfalen
16:1965 painting by Roy Lichtenstein
29:
958:Lichtenstein Foundation website
520:Virtual Museum of Modernism NRW
487:"Strange Suspense Stories #72"
143:. Like most of Lichtenstein's
1:
1610:Paintings by Roy Lichtenstein
1382:Cubist Still Life with Lemons
1366:Yellow and Green Brushstrokes
782:Yellow and Green Brushstrokes
703:Yellow and Green Brushstrokes
610:Pop Art: A Continuing History
272:Yellow and Green Brushstrokes
164:(1962), which is part of the
1358:The Melody Haunts My Reverie
934:Solomon R. Guggenheim Museum
354:American Antiquarian Society
334:American Antiquarian Society
1584:Mitchell Lichtenstein (son)
1532:Mural with Blue Brushstroke
654:(third printing ed.).
606:Livingstone, Marco (1990).
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1489:Tokyo Brushstroke I and II
1126:Portrait of Madame CĂ©zanne
189:The source for the entire
963:Large Art on GalleryToday
28:
1615:Paintings about painting
472:Strange Suspense Stories
200:Strange Suspense Stories
1406:Nude with Yellow Flower
1230:Woman with Flowered Hat
926:Waldman, Diane (1993).
900:Arnason, H. H. (1986).
858:Arnason (1986), p. 636.
849:Arnason (1986), p. 458.
821:Arnason, H. H. (1977).
382:Bourdon, David (1989).
1449:Brushstrokes in Flight
774:Waldman. p. 161.
738:Waldman. p. 161.
692:Waldman. p. 161.
234:Abstract Expressionist
141:Abstract Expressionism
1481:The Head of Barcelona
1414:Nudes with Beach Ball
1326:Girl with Hair Ribbon
910:Harry N. Abrams, Inc.
902:History of Modern Art
823:History of Modern Art
547:Harry N. Abrams, Inc.
388:Harry N. Abrams, Inc.
203:72 (October 1964) by
170:series, in a sale at
1198:Okay Hot-Shot, Okay!
227:This painting has a
167:Campbell's Soup Cans
1342:Little Big Painting
906:Prentice Hall, Inc.
827:Prentice-Hall, Inc.
825:(second ed.).
786:Little Big Painting
695:Little Big Painting
278:Little Big Painting
251:Big Painting No. 6.
131:As with all of his
1540:Times Square Mural
1441:Expressionist Head
1318:Big Painting No. 6
904:(third ed.).
778:Big Painting No. 6
699:Big Painting No. 6
656:Praeger Publishers
563:Big Painting No. 6
549:pp. 454–455.
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24:Big Painting No. 6
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1465:Five Brushstrokes
1457:Five Brushstrokes
1302:We Rose Up Slowly
1286:Ohhh...Alright...
802:Missing or empty
755:Missing or empty
719:Missing or empty
588:978-1-84484-619-1
493:on August 7, 2018
461:978-0-7148-5663-6
137:gestural painting
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1460:(1984 sculpture)
1390:Bedroom at Arles
1238:As I Opened Fire
1142:Baseball Manager
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421:. p. 29
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365:. Retrieved
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133:Brushstrokes
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115:Brushstrokes
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1567:BMW Art Car
1551:Other works
1497:Brushstroke
1473:Modern Head
1254:Happy Tears
1166:Crying Girl
1134:Takka Takka
1118:Masterpiece
1062:Mr. Bellamy
1054:Look Mickey
741:flat plane.
468:Brushstroke
338:1700–1799:
318:1634–1699:
298:1965 in art
223:Description
193:series was
158:Andy Warhol
96:(sometimes
1599:Categories
1425:Sculptures
1190:In the Car
1070:Roto Broil
894:References
618:. p.
450:. p.
418:Lowell Sun
217:DĂĽsseldorf
211:is in the
84:DĂĽsseldorf
68:Dimensions
1563:(1965–66)
1150:Bratatat!
1102:Jet Pilot
1094:Golf Ball
1006:Paintings
795:cite book
748:cite book
712:cite book
246:Reception
176:Sotheby's
1182:Hopeless
1086:Brattata
343:(1992).
323:(1997).
292:See also
121:artworks
76:Location
57:Movement
1577:Related
1513:House I
1433:Mermaid
1350:M-Maybe
1214:Varoom!
1110:Kiss II
652:Pop Art
579:Pop Art
526:May 12,
497:May 25,
448:Phaidon
425:May 12,
152:History
62:Pop art
1569:(1977)
1561:series
1543:(1994)
1535:(1986)
1524:Murals
1516:(1996)
1508:(1996)
1500:(1996)
1492:(1994)
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1476:(1989)
1452:(1984)
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1222:Whaam!
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384:Warhol
117:series
38:Artist
1262:Nurse
1158:Crak!
350:(PDF)
330:(PDF)
304:Notes
1078:Blam
938:ISBN
913:ISBN
874:ISBN
831:ISBN
808:help
780:and
761:help
725:help
624:ISBN
583:ISBN
551:ISBN
528:2012
499:2012
456:ISBN
427:2012
392:ISBN
369:2024
269:and
51:1965
48:Year
776:In
620:204
452:150
443:Pop
139:of
119:of
102:or
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
