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
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 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
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 was beautifully executed, yet full of irony and wit.
The use of comics appealed to Lichtenstein, and
therefore he could never go back to the previous form of art of his early
career. Throughout his career he continues to be influenced 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 work 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 playful, and by 1964 and
despite the controversy about pop art, Lichtenstein reputation was established
as one of the most iconic pop artist.