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character. His color change makes the work more dynamic and the subject more idealized. He also makes the landscape background more robust. Lichtenstein stated that the name Brad sounded heroic to him and was used with the aim of clichéd oversimplification. The work presents an "...unmistakeable acknowledgement to the flamboyant linearism of
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is considered an ironic depiction of emotional expression. The work is a three-quarter-length, single image of a lovelorn girl. This is one of
Lichtenstein's post-1963 comics-based women that "...look hard, crisp, brittle, and uniformly modish in appearance, as if they all came out of the same pot of
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dirty yellow to brilliant gold in the hair), thus further idealising the ideal girl of the comics; he intensifies the range and contrast of values; makes the flabby landscape background into a jagged expressive pattern; transforms the vague rocket-like shape on the left into a neat vertical column...
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Eliminating inessentials, he dispenses with finger-nails and forearm muscle indications, cuts the number of lines throughout and more tellingly states and varies their curved or angular character. He changes the colours and gives them more force (from a dull red to a bright blue in the dress, from
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Johnson notes how
Lichtenstein transforms the comic inspiration not only by enlarging the scale, but he also by eliminating non-essential details such as fingernails and traces of forearm musculature. In addition, by varying and reducing the number of lines he presents a better depiction of their
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wittily parody the crazy 'grace' of the pointed fingers, narrow wrist, swelling hips and breast and the flowing blonde hair of the comic. But for all the mannerism in
Lichtenstein's American beauty (who numbers
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Well, I had the idea of 'The Hero' Brad. 'Brad' sounded like a hero to me, so all heroes were to be called Brad—a very minor idea, but it has to do with oversimplification and cliché.
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His paintings looked, at first glance as mechanically fashioned as their source material, although it is evident in a painting such as
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among her ancestors), the total work is a powerful, commanding painting at least as far removed from the original comic as
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Lichtenstein stated that the name Brad sounded heroic to him and was used with the aim of clichéd oversimplification.
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123:. It is an example of how Lichtenstein used his artistry to make significant changes to the original
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349:(1963) that the idea of art as an emotionally expressive activity is being ironically considered..
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174 cm × 95.9 cm (68.5 in × 37.75 in)
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Roy
Lichtenstein letter to Ellen H. Johnson with original source material for
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Generally, the earlier the imagery the less significant the degree of crop:
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Measuring 174 cm × 95.9 cm (68.5 in × 37.75 in),
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I Can See the Whole Room...and There's Nobody in It!
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Archer, Michael (2002). "The Real and its
Objects".
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403:(International ed.). Fantazaria. p. 108.
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286:"View In Museums – Roy Lichtenstein Foundation"
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953:Large Interior with Three Reflections
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80:Ludwig Forum für Internationale Kunst
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458:...the three outstanding successes:
833:Oh, Jeff...I Love You, Too...But...
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929:Artist's Studio—Look Mickey
439:An Illustrated History of Pop Art
16:1964 painting by Roy Lichtenstein
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505:Lichtenstein Foundation website
202:According to a reproduction of
347:I Know How You Must Feel, Brad
218:I Know How You Must Feel, Brad
96:I Know How You Must Feel, Brad
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1175:Portraits by American artists
1170:Paintings by Roy Lichtenstein
937:Cubist Still Life with Lemons
921:Yellow and Green Brushstrokes
180:Portrait of Madame Moitessier
154:Source comic of this portrait
115:. The work is located at the
913:The Melody Haunts My Reverie
216:The slick black contours in
1139:Mitchell Lichtenstein (son)
1087:Mural with Blue Brushstroke
485:Coplans, John, ed. (1972).
290:Roy Lichtenstein Foundation
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1044:Tokyo Brushstroke I and II
681:Portrait of Madame Cézanne
519:, Smithsonian Institution
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517:Archives of American Art
442:. Eyre Methuen. p.
961:Nude with Yellow Flower
785:Woman with Flowered Hat
1165:20th-century portraits
1004:Brushstrokes in Flight
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235:'s paintings are from
107:that uses his classic
1036:The Head of Barcelona
969:Nudes with Beach Ball
881:Girl with Hair Ribbon
436:Pierre, José (1977).
753:Okay Hot-Shot, Okay!
897:Little Big Painting
327:Thames & Hudson
325:(second ed.).
1095:Times Square Mural
996:Expressionist Head
873:Big Painting No. 6
491:Praeger Publishers
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1020:Five Brushstrokes
1012:Five Brushstrokes
857:We Rose Up Slowly
841:Ohhh...Alright...
228:Madame Moitessier
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793:As I Opened Fire
697:Baseball Manager
554:Roy Lichtenstein
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293:. Retrieved
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109:Ben-Day dots
103:painting by
99:) is a 1964
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18:
1122:BMW Art Car
1106:Other works
1052:Brushstroke
1028:Modern Head
809:Happy Tears
721:Crying Girl
689:Takka Takka
673:Masterpiece
617:Mr. Bellamy
609:Look Mickey
460:I Know…Brad
371:(1962) and
264:1964 in art
252:Art Nouveau
239:'s posters.
93:(sometimes
1154:Categories
980:Sculptures
745:In the Car
625:Roto Broil
479:References
329:. p.
295:January 3,
169:says that
139:Background
131:Background
68:Dimensions
1118:(1965–66)
705:Bratatat!
657:Jet Pilot
649:Golf Ball
561:Paintings
244:Sources,
194:makeup."
127:sources.
737:Hopeless
641:Brattata
464:Hopeless
258:See also
242:—
82:, Aachen
76:Location
57:Movement
1132:Related
1068:House I
988:Mermaid
905:M-Maybe
769:Varoom!
665:Kiss II
515:at the
198:Details
101:pop art
62:Pop art
1124:(1977)
1116:series
1098:(1994)
1090:(1986)
1079:Murals
1071:(1996)
1063:(1996)
1055:(1996)
1047:(1994)
1039:(1992)
1031:(1989)
1007:(1984)
999:(1980)
991:(1979)
972:(1994)
964:(1994)
956:(1993)
948:(1992)
940:(1975)
932:(1973)
924:(1966)
916:(1965)
908:(1965)
900:(1965)
892:(1965)
884:(1965)
876:(1965)
868:(1965)
860:(1964)
852:(1964)
844:(1964)
836:(1964)
828:(1964)
820:(1964)
812:(1964)
804:(1964)
796:(1964)
788:(1963)
780:(1963)
777:Whaam!
772:(1963)
764:(1963)
756:(1963)
748:(1963)
740:(1963)
732:(1963)
724:(1963)
716:(1963)
708:(1963)
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652:(1962)
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636:(1962)
628:(1961)
620:(1961)
612:(1961)
604:(1961)
596:(1961)
588:(1961)
580:(1961)
572:(1956)
450:
337:
254:...".
237:Chéret
233:Seurat
223:Ingres
175:Ingres
125:comics
121:Aachen
111:and a
38:Artist
817:Nurse
713:Crak!
270:Notes
633:Blam
466:and
448:ISBN
335:ISBN
297:2018
51:1964
48:Year
119:in
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489:.
462:,
456:.
446:.
444:94
391:^
343:.
333:.
331:14
288:.
277:^
225:'
177:'
546:e
539:t
532:v
493:.
299:.
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