ART WORK ANALYSIS

Art Work Analysis

Art Work Analysis

Introduction

Roy Lichtenstein was the master of the stereotype, and the most sophisticated of the major Pop artists in terms of his analysis of visual convention and his ironic exploitation of past styles. The work for which he is now known was the product of a long apprenticeship.

Lichtenstein took in his comic-strip paintings unannounced to the new Leo Castelli Gallery, and was almost immediately accepted for exhibition there, in preference to Andy Warhol, who had started doing similar work. His first one-man show with Castelli in 1962 launched him on a career which was thereafter uniformly successful. In 1963 he moved from New Jersey to New York, having taken leave of absence from his job at Rutgers; in 1964 he resigned from teaching altogether. In 1966 he showed at the Venice Biennale, and in 1969 he was given a retrospective at the Guggenheim Museum, which later toured America. He was elected to the American Academy of Arts and Sciences in 1970, and then moved to Southampton, Long Island, thus following a pattern set by many successful American artists.( Abbott, 1986)

Critcal analysis of Lichtenstein's work

In Lichtenstein's own work there's no chiaroscuro and the stress is on the quantity and balance of colors, not on any illusion of depth, though in his late paintings of female nudes, from the mid-nineties, he coyly alludes to chiaroscuro through patches of different-sized dots that don't conform to the outlines of the figures. His idea isn't to simulate shadows precisely, but to symbolize the convention of chiaroscuro, to signal it: like all Lichtenstein's paintings, the nudes ultimately are about issues of perception. (Baro, 1968)

During the Renaissance, perspective held the work together and gave you the sense that the painted image is something seen from your viewpoint. But then later, I ...