Ohhh…Alright appear innocent in concept yet portray an

Ohhh…

Alright painting byRoy Lichtenstein’s was created in 1964 using comics’images which was originally published by Arleigh Publishing Corp, (now part ofD.C. Comics).  Using a limited palette ofprimary colours that appear innocent in concept yet portray an element ofsexual attraction that somehow is confused with her distressed look. Usingblack 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 backgroundof yellow that somehow is insignificant and draws the viewer straight into heremotional state.

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She frowns in an attempt to depict her anxious state,clutching the receiver, she offers many interpretations, but what comes to mindis that of a woman almostdesperate and entirely detached from the conversation. Ohhh…Alright…is suggestive, sensual and reflect awoman who’svulnerable, almost tearful but also composed, and in control of her emotions. Lichtenstein method is typical of severalpaintings where they seem to continue beyond the edges the canvas, given theimpression that woman are yet to be freed.

Lichtenstein choice of palette and blackcontours clearly is drawn from the work of modernist Dutch artist PietMondrian. The points (or dots) although are magnified and cropped from the comics’image, using a variety of stencil techniques, are an interpretation of theImpressionist style and Monet in particular. An image, with cold and simple fire theimagination. Abstracts artists would have possibly were angered as they sawtheir whole world of anguish vanish with this work of irony and witty yetbeautifully 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 ofhis early career. However he continues to interpret the work of Picasso andMatisse applying mechanical precision, to transform current commercial imagesinto art. He treated his work more as marks than a subject and turning itupside down and viewed its refection in mirrors, almost to eliminate any excessor doubling of. He thrived on contradiction and transformed his originalsources of inspiration. He believed that the position of lines is importantrather than the character of it. Liechtenstein imitated the technique of massproduction in the same way as mechanical reproduction has imitated thetechniques of artists. His approach to work was joyful and stress free, and by1964 and despite the controversy about pop art, Lichtenstein reputation wasestablished as one of the most iconic pop artist.

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