Ohhh…Alright excess or doubling of. He thrived on

Ohhh…Alright painting by
Roy Lichtenstein’s was created in 1964 using comics’
images which was originally published by Arleigh Publishing Corp, (now part of
D.C. Comics).  Using a limited palette of
primary colours that appear innocent in concept yet portray an element of
sexual attraction that somehow is confused with her distressed look. Using
black 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 small
yellow 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 mind
is that of a woman almost
desperate and entirely detached from the conversation.

Ohhh…Alright…is suggestive, sensual and reflect a
woman who’s
vulnerable, almost tearful but also composed, and in control of her emotions.

Lichtenstein method is typical of several
paintings where they seem to continue beyond the edges the canvas, given the
impression that woman are yet to be freed. Lichtenstein choice of paints and black
contours clearly is drawn from the work of modernist Dutch artist Piet
Mondrian. The points (or dots) although are enlarged and cropped from originals,
using various stencil techniques, are an interpretation of the Impressionist
style and Monet in particular.

An image, cold and simple fire the imagination. His
work full of irony and wit, yet marvelously 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 of
his early career. However he continues to interpret the work of Picasso and
Matisse applying mechanical precision, to transform current commercial images
into art. He treated his work more as marks than a subject and rotating and viewed
from various angles, almost to eliminate any excess or doubling of. He thrived
on contradiction and transformed his original sources of inspiration. He considered
that the position of lines is important rather than the character of it. Liechtenstein
imitated the technique of mass production in the same way as mechanical
reproduction has imitated the techniques of artists. His approach to work was enthusiastic
and joyful, and by 1964 and despite the controversy about pop art, Lichtenstein
reputation was established as one of the most iconic pop artist.

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