Ohhh…Alright points (or dots) although are blown

Ohhh…Alright painting by Roy Lichtenstein was created in 1964
using comics’
image, which was originally published by Arleigh Publishing Corp, (now part of
D.C. Comics).  He uses limited palette of
primary colours that appear innocent in concept yet portray an element of
sexual attraction that somehow is confused with the woman distressed look. He
applies 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 instantly draws the viewer into the
woman’s
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 one and that of a woman almost desperate and entirely detached from the
conversation.

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

Lichtenstein’s method is typical of several paintings where
they seem to continue beyond the edges the canvas, and give the impression that
woman are yet to be freed. Lichtenstein’s choice of paints not to mention the black
contours clearly is drawn from the work of modernist Dutch artist Piet
Mondrian. The points (or dots) although are blown up and cropped using comics’
images and various stencil techniques, are an interpretation of the
Impressionist style and Monet in particular.

An image, cold and simple fire the imagination. His
work is beautifully executed, yet full of irony and wit.

Lichtenstein loved his new technique, and
therefore he could never go back to the previous form of art of his early
career. During his career he continues to be inspired by 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; he examines
his paintings from various angles, almost to eliminate any excess or doubling
of. He thrived on opposites 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 playful, and by 1964 and despite the controversy about
pop art, Lichtenstein’s
reputation was established as one of the most iconic pop artist.

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