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822:, extreme examples of his formalization become "virtual abstraction" when the viewer recalls that the motif is an element of a larger work. Thus, Lichtenstein reinforced a non-realist view of comic strips and advertisements, presenting them as artificial images with minimalistic graphic techniques. Lichtenstein's magnification of his source material stressed the plainness of his motifs as an equivalent to mechanical commercial drawing, leading to implications about his statements on modern industrial America. Nonetheless, Lichtenstein appears to have accepted the American capitalist industrial culture.
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The waters of the sea swirl around the subject's waves of hair creating the perception of a whirlpool. The painting is representative of
Lichtenstein's affinity for single-frame drama that reduces the viewer's ability to identify with it and that abstracts emotion. His use of industrial and mechanical appearance further trivialize the sentiments, although the painterly touches add to its simplification.
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by a threatening wave. He changed the caption from 'I don't care if I have a cramp!' to 'I don't care!' and the boyfriend's name from Mal to Brad." With the former narrative change, Lichtenstein removed evidence that the drowning girl has a cramp in her leg. With the latter narrative change, Lichtenstein attempted to change the perception of the boyfriend. When discussing another work (
818:). In 2005, Gary Garrels of the Museum of Modern Art wrote that the work is a "poetics of the utterly banal, of displaced ordinariness" resulting in an "image frozen in time and space", making it "iconic". Comparing this to the source, Garrels says it is a rendering "in a simplified vocabulary" produced while Lichtenstein put aside his mechanical objectivity. According to
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her eyes are shut with drops of what appear to be tears flowing from them. Because
Lichtenstein only presents a single frame, the viewer does not know what happened before this moment and what is going to happen after it. Furthermore, the viewer has no way to know who Brad is and why she is so reluctant to call him.
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said that despite
Lichtenstein's association with romance comics, in his day "no comics publisher would have hired Lichtenstein—he wasn't good enough." Kinstler said Lichtenstein lacked the ability to portray the emotional range of the story through facial expressions and body language independently.
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is a painting of a female subject who would prefer to give in to the power of the ocean than call for aid. Lichtenstein's version of the scene eliminates everything but the sea and a few body parts of the subject: her head, shoulder and hand, which are barely above the water. As her face is presented
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In typical
Lichtenstein fashion, the tragic female is presented "in a suspended state of distress." According to Janis Hendrickson, the subject's head appears to rest on a wave as if it were a pillow and lies in the water as if it were a bed, creating a blend of "eroticism and final resting place".
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are not regarded as significant, Lichtenstein made several notable changes from the original source: "In the original illustration, the drowning girl's boyfriend appears in the background, clinging to a capsized boat. Lichtenstein cropped the image dramatically, showing the girl alone and encircled
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As directly as possible ... From a cartoon, photograph or whatever, I draw a small picture—the size that will fit into my opaque projector ... I don't draw a picture to reproduce it—I do it in order to recompose it ... I project the drawing onto the canvas and pencil it in and then I
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is an example of
Lichtenstein's post-1963 comics-based women who "look hard, crisp, brittle, and uniformly modish in appearance, as if they all came out of the same pot of makeup." In the early 1960s, Lichtenstein produced several "fantasy drama" paintings of women in love affairs with domineering
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Tøjner describes the work as "Lichtenstein's finest formulation of a counter-image to the many explosions in his universe", noting that the drama is past its peak although it may seem to be at a crescendo. He also notes that "the tears are drawn with classic
Lichtenstein waxy fullness" despite the
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In 1963, Lichtenstein was parodying various types of sources such as commercial illustrations, comic imagery and even modern masterpieces. The masterpieces represented what could have been dubbed the "canon" of art and was thought of as "high art," while the "low-art" subject matter included comic
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in 1986 that "Those cartoon blowups may have disturbed the critics, but collectors, tired of the solemnity of abstract expressionism, were ready for some comic relief. Why couldn't the funny pages be fine art?" His work is now widely accepted, although some criticize him for borrowing from comics
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When
Lichtenstein made his transition to comic-based work, he began to mimic the style while adapting the subject matter. He applied simplified color schemes and commercial printing-like techniques. The style he adopted was "simple, well-framed images comprised of solid fields of bold color often
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period, from animated cartoons to more serious themes such as romance and wartime armed forces. Lichtenstein said that, at the time, "I was very excited about, and very interested in, the highly emotional content yet detached impersonal handling of love, hate, war, etc., in these cartoon images."
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perdition" pieces, describing it as the "star witness" of this genre of his works. He notes that the subject is reaching far-flung depths as she acts out of pride. Tøjner perceived eroticism in this painting, likening the open mouth to a vaginal feature and noting the singularity of
Lichtenstein
303:. Another possible influence on his emphasis on depicting distressed women in the early- to mid-1960s was that his first marriage was dissolving at the time. Lichtenstein's first marriage to Isabel Wilson, which resulted in two sons, lasted from 1949 to 1965; the couple separated in 1963.
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wrote that
Lichtenstein's work was not art, saying Lichtenstein was "one of the worst artists in America" who "briskly went about making a sow's ear out of a sow's ear." This was part of a widespread debate about the merits of Lichtenstein's comic blow-ups as true art. In January 1964
2123:(Ill. p. 31) (1963) shows a young woman who seems to have cried herself a river. She is literally drowning in emotion and has abandoned herself to its destructive forces. Brad, the name of the man involved with several of Lichtenstein's "heroines", must have hurt her badly.
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the water is not only Art
Nouveau, but it can also be seen as Hokusai. I don't do it just because it is another reference. Cartooning itself sometimes resembles other periods in art – perhaps unknowingly ... They do things like the little Hokusai waves in the
744:, the work is "a mix of cliché, melodrama, pathos, and absurdity ..." In 1995, art scholar Jonathan Fineberg called it "a remarkably impassive style". The image is typical of Lichtenstein's depiction of comic subjects responding to a situation in a clichéd manner.
187:", and is one of the artist's earliest images depicting women in tragic situations, a theme to which he often returned in the mid-1960s. It shows a teary-eyed woman on a turbulent sea. She is emotionally distressed, seemingly from a romance. Using the conventions of
859:, Museum of Modern Art chief curator noted that the 2004 "MoMA in Berlin" exhibition held during the museum's renovation was a "synoptic overview of 20th-century art". Highlights from the 212-piece exhibition according to various publications such as
780:, making this work a bridge between the two. The adaptation of the wave print is said to add a decorative look and feel to the painting, without which the work might be much more alarming to the viewer. Lichtenstein even made the connection between
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is borrowed from an example of a comic-book panel depiction of a moment relatively more "pregnant" with past- and future-dependent drama than most moments. This work also marks a phase in Lichtenstein's career when many of his works were given
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without attributing the original creators, paying royalties, or seeking permission from copyright holders. David Barsalou has dedicated decades to identifying all of Lichtenstein's source materials and has posted more than 1,000 images on
797:. But the original wasn't very clear in this regard – why should it be? I saw it and then pushed it a little further until it was a reference that most people will get ... it is a way of crystallizing the style by exaggeration.
431:. During this time in his career, Lichtenstein noted that "the things that I have apparently parodied I actually admire." At the time, Lichtenstein was exploring the theme of "industrialization of emotion". In Lichtenstein's obituary,
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as a subject at the time to avoid competing with the more finished style of comics by Lichtenstein. He once said "I've got to do something that really will have a lot of impact that will be different enough from Lichtenstein and
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makes it clear that she has been hurt by a "Brad", the name given to several of Lichtenstein's heroes. Vian Shamounki Borchert says that the caption makes it clear that the subject is practically "drowning in a sea of tears".
626:, during this phase of Lichtenstein's career "a constant if restrained and a gentle sense of humor contribute just as much to the cheerful lightness of Lichtenstein's work as the balanced, completely harmonious composition."
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boat, troubled male subject and the general seascape. The result, Lanchner wrote, was swirling, swooping waves and "animate white foam" that envelope the subject with a "pictorial buoyancy" that form an "aquatic continuum".
445:'s famously brushy paintings of women". His comic romances often depicted stereotypical representations of thwarted passions. Although the Lichtenstein Foundation website claims that Lichtenstein did not begin using his
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Lichtenstein's method entailed "strengthening of the formal aspects of the composition, a stylization of motif, and a 'freezing' of both emotion and actions". Although comic-book panels depict a moment in time,
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bounded by thick, stark border lines." The borrowed technique was "representing tonal variations with patterns of colored circles that imitated the half-tone screens of Ben-Day dots used in newspaper printing".
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Lichtenstein parodied four Picassos between 1962 and 1963. Picasso's depictions of weeping women may have influenced Lichtenstein to produce portrayals of vulnerable teary-eyed women, such as the subjects of
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Some sources describe the subjects of Lichtenstein's tragic girls series as heroines (in the sense that they are the counterparts to the heroes), and others do not (in the sense that they are not heroic).
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with another artist's work, noting that the work "satirizes the melodrama of soap operas and serial comics, turning the drama of the title figure's potential suicide into a high camp performance".
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a cornerstone of his career because of "his extraordinary sense of organization, his ability to use a sweeping curve and manipulate it into an allover pattern". According to the 2007 edition of
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Lichtenstein's tinkering with the source material resulted in a recomposition with sharper focus after he eliminated several elements that distract from the depiction of the woman, such as the
349:, for example, the heroines appear as victims of unhappy love affairs, with one displaying helplessness ... and the other defiance (she would rather drown than ask for her lover's help)."
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review stated that this was one of the "broad and powerful paintings" of the 1963 exhibition at Castelli's Gallery. Nonetheless, the name of the work was not universally known. In
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Narrative content was in the forefront of much of Lichtenstein's work as a means to engage the viewer. Measuring 171.6 cm Ă— 169.5 cm (67.625 in Ă— 66.75 in),
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and other works from 1962 and 1963. It was also part of his second solo exhibition at the Leo Castelli Gallery from September 28 – October 24, 1963 that included
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In 2009, Lanchner wrote of how Lichtenstein's translation of a "highly charged" content with coolly handled presentation intensified the contrast between the two.
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reads: "I Don't Care! I'd Rather Sink — Than Call Brad For Help!" This narrative element highlights the clichéd melodrama, while its graphics — including
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presents "a young woman who seems to have cried herself a river ... literally drowning in emotion," according to Janis Hendrickson. The
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was painted at the apex of Lichtenstein's use of enlarged dots, cropping, and magnification of the original source. In 1993,
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During the late 1950s and early 1960s a number of American painters began to adapt the imagery and motifs of comic strips.
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593:), Lichtenstein stated that the name Brad sounded heroic to him and was used with the aim of clichéd oversimplification.
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Hendrickson, Janis (1993). "The Pictures That Lichtenstein Made Famous, or The Pictures That Made Lichtenstein Famous".
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Hendrickson, Janis (1993). "The Pictures That Lichtenstein Made Famous, or The Pictures That Made Lichtenstein Famous".
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Hendrickson, Janis (1993). "The Pictures That Lichtenstein Made Famous, or The Pictures That Made Lichtenstein Famous".
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ran a story under the title "Is He the Worst Artist in the U.S.?" on this controversy. Later reviews were much kinder.
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panel; both the graphical and narrative elements of the work are cropped from the source image. It also borrows from
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technique until the fall of 1963, Lichtenstein described his process for producing comics based art, including
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surrounding water, which must be significant since "naturalistic justification" is absent. A November 1963
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as Lichtenstein's most famous works. It is also regarded as one of his most influential works along with
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depicted the advancement of Lichtenstein's cartoon work, which represented his 1961 departure from his
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produced his earliest paintings in the style in 1960. Lichtenstein, unaware of Warhol's work, produced
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Lobel, Michael (2009). "Technology Envisioned: Lichtenstein's Monocularity". In Bader, Graham (ed.).
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In the early 1960s Lichtenstein's theme of comics-based work was hotly debated. In a 1963 article in
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Taylor, Todd (2001). "Coyotes and Visual Ethos". In Varnum, Robin; Gibbons, Christina T. (eds.).
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She is lying in the water as if it were a bed, a mixture of eroticism and final resting place.
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s arabesque waves and "the Art Nouveau aesthetic". Regarding this work, Lichtenstein stated:
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review of his 1964 Castelli Gallery show, Lichtenstein was referred to as the author of
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in New York City in February 1962, it sold out before the opening. In addition to
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that echo the effect of the printing process — reiterate Lichtenstein's theme of
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was part of the largest-ever retrospective of Lichtenstein, which visited the
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2825:"'Roy Lichtenstein: A Retrospective' Debuts At The Art Institute of Chicago"
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Why Does Batman Carry Shark Repellent?: And Other Amazing Comic Book Trivia!
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Through the Looking Glass: Women and Self-Representation in Contemporary Art
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work that imitates mechanized reproduction. The work is derived from a 1962
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Holm, Michael Juul; Tøjner, Poul Erik; Caiger-Smith, Martin, eds. (2003),
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The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America
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presents an "unmistakeable acknowledgement to the flamboyant linearism of
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are among those tragedies that make the author a popular draw at museums.
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In 2003, Sarah Rich and Joyce Henri Robinson contrasted Lichtenstein's
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Pictures of Romance: Form against Context in Painting and Literature
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as Lichtenstein's "masterpiece of melodrama". Danish art critic and
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1161:"Roy Lichtenstein's Woman with Flowered Hat: A Pop Art Masterpiece"
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noted that this may have been motivated by popular demand; he told
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2311:"Deconstructing Lichtenstein: Source Comics Revealed and Credited"
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using an open mouth. With that in mind, he compares the tears to
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Judd, Donald (2009), "Reviews 1962–64", in Bader, Graham (ed.),
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Rondeau, James; Wagstaff, Sheena (2012), Rigas, Maia M. (ed.),
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Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art
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Madoff, Steven Henry, ed. (1997). "Focus: The Major Artists".
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Marquis, Alice Goldfarb (2010). "The Arts Take Center Stage".
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1970:"Roy Lichtenstein: A Retrospective @ National Gallery of Art"
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Of Comics and Men: A Cultural History of American Comic Books
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in Los Angeles from April 1 – April 27, 1963, featuring
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Kongden, Kristen (2001). Browne, Ray B; Browne, Pat (eds.).
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strip images. His masterworks sources included the likes of
2742:"Pop art pioneer Lichtenstein in Tate Modern retrospective"
2253:. Lichtenstein Foundation. January 31, 1964. Archived from
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Lichtenstein acknowledges that the wave is adapted from
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Some critics question Lichtenstein's artistic skills.
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Paintings in the Museum of Modern Art (New York City)
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in 1961. Although Warhol had produced silkscreens of
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The painting has been described as a "masterpiece of
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I Can See the Whole Room...and There's Nobody in It!
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called the work an example of Lichtenstein's "post-
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play around with the drawing until it satisfies me.
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2405:The Oxford Dictionary of American Art and Artists
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553:in 1971, and their webpage for this work credits
468:When Lichtenstein had his first solo show at the
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1968:Rand, Kelly; Langley, Julia (October 11, 2012).
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540:. Marketing materials for the show included the
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2798:"Arts Briefing: Highlights; Art: 212 To Berlin"
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1322:. University Press of Mississippi. p. 42.
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1775:Roy Lichtenstein: Mural With Blue Brushstroke
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1254:"Pop Art pioneer Roy Lichtenstein dead at 73"
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2004:The Guide to United States Popular Culture
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1935:: Roy Lichtenstein (American, 1923–1997)"
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1320:The Language of Comics: Word and Image
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1283:Pop Artists (Artist in Profile Series)
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624:The Grove Encyclopedia of American Art
580:The Grove Encyclopedia of American Art
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2245:"Is He the Worst Artist in the U.S.?"
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2040:
1737:
1692:Moritz, Owen (September 30, 1997).
1048:
766:as well as the biomorphic forms of
356:Oh, Jeff...I Love You, Too...But...
13:
3041:, Image duplicator, archived from
2935:, Louisiana Museum of Modern Art,
2309:Childs, Brian (February 2, 2011).
2209:Drawing from the Modern: 1945–1975
1019:
656:
549:The Museum of Modern Art acquired
14:
3746:
3464:Artist's Studio—Look Mickey
3030:, Museum of Modern Art Collection
3018:
2970:Roy Lichtenstein: A Retrospective
2852:Parker, Sam (February 18, 2012).
2483:An Illustrated History of Pop Art
2313:. Comics Alliance. Archived from
1656:
1523:. Cengage Learning. p. 165.
2276:Steven, Rachael (May 13, 2013).
2007:. Popular Press 3. p. 490.
1597:"Pop Art Icon Lichtenstein Dies"
1190:Schneider, Eckhard, ed. (2005).
1167:. April 10, 2013. Archived from
1061:Harry N. Abrams, Inc. Publishing
970:
956:
36:
2933:Roy Lichtenstein: All About Art
2897:Roy Lichtenstein: October Files
2845:
2817:
2789:
2761:
2733:
2701:
2663:
2625:
2579:
2541:
2472:
2431:
2394:
2329:
2302:
2269:
2237:
1889:
1830:
1811:Roy Lichtenstein: October Files
1766:
1704:
1685:
1622:
1588:
1537:
1512:
1479:
1383:
1273:
353:, the aforementioned works and
2592:University of California Press
1212:
1183:
1153:
997:
931:Louisiana Museum of Modern Art
564:
1:
3715:Portraits by American artists
3705:Paintings by Roy Lichtenstein
3472:Cubist Still Life with Lemons
3456:Yellow and Green Brushstrokes
2888:
2551:Retro: The Culture of Revival
2548:Guffey, Elizabeth E. (2006).
1715:Great Masters of American Art
1629:Gabilliet, Jean-Paul (2009).
1220:"Roy Lichtenstein at the Met"
1028:Pop Art: A Continuing History
812:I Don't Care, I'd Rather Sink
228:
151:I Don't Care! I'd Rather Sink
19:For the unrelated novel, see
3448:The Melody Haunts My Reverie
3001:Solomon R. Guggenheim Museum
734:Solomon R. Guggenheim Museum
702:
16:Painting by Roy Lichtenstein
7:
3674:Mitchell Lichtenstein (son)
3622:Mural with Blue Brushstroke
2918:Coplans, John, ed. (1972),
2895:Bader, Graham, ed. (2009),
2588:Pop Art: A Critical History
2536:Rondeau & Wagstaff 2012
2438:Fineberg, Jonathan (1995).
2374:Rondeau & Wagstaff 2012
2060:University of Chicago Press
1493:). "Run for Love!"
1026:Livingstone, Marco (2000).
949:
915:in London in 2013, and the
777:The Great Wave off Kanagawa
714:The Great Wave off Kanagawa
214:The Great Wave off Kanagawa
158:, based on original art by
10:
3751:
3579:Tokyo Brushstroke I and II
3216:Portrait of Madame CĂ©zanne
2833:(photograms). May 22, 2012
1896:Lanchner, Carolyn (2009).
1719:. Watson-Guptill. p.
1694:"Artist Lichtenstein Dies"
1392:"Essay: Tintin in America"
1352:Marter, Joan, ed. (2011).
1129:Lanchner, Carolyn (2009).
1095:. Pantheon Books. p.
513:Portrait of Madame CĂ©zanne
476:, the exhibition included
362:
18:
3666:
3640:
3613:
3514:
3095:
2956:, Yale University Press,
1489:), Ira Schnapp (
127:
116:
80:
72:
62:
54:
44:
35:
30:
3720:Works based on DC Comics
2974:Art Institute of Chicago
2487:. Eyre Methuen. p.
2401:Morgan, Ann Lee (2007).
1773:Tomkins, Calvin (1988).
1519:Arntson, Amy E. (2006).
991:
911:, in 2012 and 2013, the
901:Art Institute of Chicago
3725:Paintings about suicide
3496:Nude with Yellow Flower
3320:Woman with Flowered Hat
3038:Lichtenstein Foundation
2991:Waldman, Diane (1993),
2411:Oxford University Press
2050:Steiner, Wendy (1987).
1545:"Secret Hearts #83 (a)"
1360:Oxford University Press
1055:Bourdon, David (1989).
905:National Gallery of Art
3700:20th-century portraits
3539:Brushstrokes in Flight
2670:Cronin, Brian (2012).
2206:Garrels, Gary (2005).
1005:"Modern Art Movements"
839:Many sources describe
799:
726:
637:
466:
385:
315:style associated with
290:abstract expressionism
282:
3571:The Head of Barcelona
3504:Nudes with Beach Ball
3416:Girl with Hair Ribbon
2479:Pierre, José (1977).
2336:Hajdu, David (2009).
1711:Vigué, Jordi (2004).
1521:Graphic Design Basics
1259:Associated Press News
1007:. ENCYCLOPEDIA OF ART
786:
710:
633:Narrative content of
632:
561:for the acquisition.
455:
407:#83 (November 1962),
370:
276:
3288:Okay Hot-Shot, Okay!
2770:"Berlin, Starstruck"
2640:Palmer Museum of Art
2214:Museum of Modern Art
1939:Museum of Modern Art
1904:Museum of Modern Art
1551:on February 25, 2014
1280:Mason, Paul (2002).
1171:on November 11, 2013
1137:Museum of Modern Art
470:Leo Castelli Gallery
391:is derived from the
262:Campbell's Soup Cans
178:Museum of Modern Art
176:was acquired by the
121:Museum of Modern Art
98: in Ă—
3432:Little Big Painting
2859:The Huffington Post
2830:The Huffington Post
2317:on January 12, 2013
2257:on November 4, 2013
1875:. pp. 118–20.
1746:The Pop! Revolution
1610:on October 24, 2013
1485:Tony Abruzzo (
922:The Huffington Post
889:and Lichtenstein's
604:present-participial
3630:Times Square Mural
3531:Expressionist Head
3408:Big Painting No. 6
2924:Praeger Publishers
2803:The New York Times
2558:. pp. 66–67.
2290:on October 2, 2013
1509:, pp. 118–19.
1460:Gaithersburg Patch
1402:on October 2, 2013
1139:. pp. 11–14.
1034:. pp. 72–73.
978:Visual arts portal
862:The New York Times
727:
664:The New York Times
638:
439:Christopher Knight
386:
283:
3682:
3681:
3555:Five Brushstrokes
3547:Five Brushstrokes
3392:We Rose Up Slowly
3376:Ohhh...Alright...
2983:978-0-300-17971-2
2910:978-0-262-01258-4
2687:978-1-101-58544-3
2424:978-0-19-512878-9
2353:978-0-312-42823-5
1913:978-0-87070-770-4
1882:978-0-262-01258-4
1848:on March 12, 2016
1824:978-0-262-01258-4
1759:978-0-87846-744-0
1730:978-0-8230-2114-7
1642:978-1-60473-267-2
1603:Los Angeles Times
1390:Bengal, Rebecca.
1369:978-0-19-533579-8
1288:Heinemann Library
1196:Kunsthaus Bregenz
1146:978-0-87070-770-4
1032:Thames and Hudson
557:and Mr. and Mrs.
434:Los Angeles Times
135:
134:
21:The Drowning Girl
3742:
3550:(1984 sculpture)
3480:Bedroom at Arles
3328:As I Opened Fire
3232:Baseball Manager
3089:Roy Lichtenstein
3082:
3075:
3068:
3059:
3058:
3053:
3052:
3050:
3045:on June 12, 2018
3031:
3013:
2998:
2995:Roy Lichtenstein
2986:
2945:
2926:
2920:Roy Lichtenstein
2913:
2883:
2877:
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2295:
2286:. Archived from
2273:
2267:
2266:
2264:
2262:
2241:
2235:
2234:
2232:
2230:
2203:
2192:
2191:
2178:Benedikt Taschen
2174:Roy Lichtenstein
2169:
2158:
2157:
2141:Benedikt Taschen
2137:Roy Lichtenstein
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2105:Benedikt Taschen
2101:Roy Lichtenstein
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1869:Roy Lichtenstein
1864:
1858:
1857:
1855:
1853:
1842:Image duplicator
1834:
1828:
1827:
1817:, pp. 2–4,
1806:
1793:
1792:
1770:
1764:
1763:
1750:MFA Publications
1741:
1735:
1734:
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1678:
1663:
1654:
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1620:
1619:
1617:
1615:
1606:. Archived from
1592:
1586:
1585:
1583:
1581:
1567:
1561:
1560:
1558:
1556:
1541:
1535:
1534:
1516:
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1476:
1474:
1472:
1463:. Archived from
1450:
1441:
1435:
1424:
1418:
1412:
1411:
1409:
1407:
1398:. Archived from
1387:
1381:
1380:
1378:
1376:
1349:
1334:
1333:
1315:
1309:
1308:
1306:
1304:
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1235:
1233:
1231:
1226:on June 27, 2013
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1150:
1132:Roy Lichtenstein
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935:Poul Erik Tøjner
909:Washington, D.C.
876:The Starry Night
696:Everett Kinstler
525:Baseball Manager
494:The Refrigerator
464:
447:opaque projector
399:and lettered by
279:Roy Lichtenstein
268:James Rosenquist
235:Roy Lichtenstein
156:Roy Lichtenstein
111:
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3120:Engagement Ring
3104:Ten Dollar Bill
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2964:-9780300087628.
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2747:Chicago Tribune
2738:
2734:
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2715:Chicago Tribune
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2594:. p. 202.
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2446:. p. 263.
2444:Harry N. Abrams
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2346:. p. 163.
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2283:Creative Review
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2228:
2226:
2224:
2212:. Vol. 2.
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1673:on June 6, 2013
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1362:. p. 158.
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917:Centre Pompidou
857:John Elderfield
719:woodblock print
705:
669:Brian O'Doherty
659:
657:General context
606:titles such as
567:
483:Engagement Ring
465:
462:
365:
322:The subject of
231:
142:(also known as
123:, New York City
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3424:Grrrrrrrrrrr!!
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3336:Girl in Mirror
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3019:External links
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1781:. p. 25.
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782:Drowning Girl'
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519:Torpedo...Los!
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716:
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680:Todd Brewster
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631:
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609:Sleeping Girl
605:
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594:
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590:I Know...Brad
585:
584:Drowning Girl
581:
578:According to
576:
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572:Drowning Girl
562:
560:
559:Bagley Wright
556:
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2653:. Retrieved
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2369:
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2315:the original
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2082:
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1984:. Retrieved
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1942:. Retrieved
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1671:the original
1667:"Chronology"
1646:. Retrieved
1631:
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1608:the original
1600:
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1578:. Retrieved
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1565:
1553:. Retrieved
1549:the original
1539:
1520:
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1507:Waldman 1993
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1400:the original
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1373:. Retrieved
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1313:
1301:. Retrieved
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1257:
1228:. Retrieved
1224:the original
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1191:
1185:
1173:. Retrieved
1169:the original
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1027:
1021:
1009:. Retrieved
999:
926:
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895:
890:
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848:
844:
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835:
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824:
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811:
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804:Art Magazine
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534:Conversation
533:
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467:
463:Lichtenstein
456:
450:
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417:
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404:
397:Tony Abruzzo
388:
387:
381:
375:
372:Tony Abruzzo
354:
350:
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342:
336:
332:
328:
323:
321:
313:ligne claire
305:
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285:
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260:
253:comic strips
248:
242:
232:
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197:Ben-Day dots
182:
173:
163:
160:Tony Abruzzo
150:
149:
144:
143:
138:
137:
136:
25:
3657:BMW Art Car
3641:Other works
3587:Brushstroke
3563:Modern Head
3344:Happy Tears
3256:Crying Girl
3224:Takka Takka
3208:Masterpiece
3152:Mr. Bellamy
3144:Look Mickey
1163:(Release).
986:1963 in art
913:Tate Modern
853:Look Mickey
760:Art Nouveau
615:Crying Girl
565:Description
507:Masterpiece
478:Look Mickey
401:Ira Schnapp
393:splash page
244:Look Mickey
239:Andy Warhol
3689:Categories
3515:Sculptures
3280:In the Car
3160:Roto Broil
3027:Collection
2962:0300087624
2889:References
2413:. p.
2062:. p.
1165:Christie's
925:described
542:lithograph
530:In the Car
443:De Kooning
338:In the Car
229:Background
189:comic book
172:movement,
81:Dimensions
3653:(1965–66)
3240:Bratatat!
3192:Jet Pilot
3184:Golf Ball
3096:Paintings
1873:MIT Press
946:residue.
944:ejaculate
933:director
703:Reception
646:melodrama
409:DC Comics
277:In 1961,
223:Joan MirĂł
205:DC Comics
201:painterly
185:melodrama
180:in 1971.
128:Accession
112: in)
63:Catalogue
3735:Drowning
3272:Hopeless
3176:Brattata
2952:(2002),
2809:July 11,
2321:June 23,
2294:June 18,
2261:June 10,
1980:Archived
1852:June 26,
1614:June 23,
1575:ArtDaily
1555:June 11,
1406:June 19,
1375:June 15,
1303:June 17,
1265:June 10,
1230:June 10,
1087:(2003).
1011:July 16,
950:See also
871:van Gogh
749:capsized
461:—
425:Mondrian
413:Hopeless
343:Hopeless
333:Hopeless
296:Hopeless
219:Jean Arp
131:685.1971
117:Location
3667:Related
3603:House I
3523:Mermaid
3440:M-Maybe
3304:Varoom!
3200:Kiss II
3049:May 14,
2865:June 6,
2837:June 8,
2781:July 6,
2753:June 8,
2725:June 8,
2720:Reuters
2693:June 6,
2655:June 7,
2571:June 6,
2359:July 2,
2344:Picador
2229:June 6,
2020:June 7,
1986:June 8,
1944:May 23,
1838:"Crak!"
1677:June 9,
1648:June 7,
1580:June 7,
1471:June 5,
1175:June 7,
881:Matisse
829:use in
788:In the
764:Hokusai
723:Hokusai
437:critic
429:Picasso
421:CĂ©zanne
363:History
257:pop art
209:Hokusai
191:art, a
170:pop art
107:⁄
93:⁄
3659:(1977)
3651:series
3633:(1994)
3625:(1986)
3614:Murals
3606:(1996)
3598:(1996)
3590:(1996)
3582:(1994)
3574:(1992)
3566:(1989)
3542:(1984)
3534:(1980)
3526:(1979)
3507:(1994)
3499:(1994)
3491:(1993)
3483:(1992)
3475:(1975)
3467:(1973)
3459:(1966)
3451:(1965)
3443:(1965)
3435:(1965)
3427:(1965)
3419:(1965)
3411:(1965)
3403:(1965)
3395:(1964)
3387:(1964)
3379:(1964)
3371:(1964)
3363:(1964)
3355:(1964)
3347:(1964)
3339:(1964)
3331:(1964)
3323:(1963)
3315:(1963)
3312:Whaam!
3307:(1963)
3299:(1963)
3291:(1963)
3283:(1963)
3275:(1963)
3267:(1963)
3259:(1963)
3251:(1963)
3243:(1963)
3235:(1963)
3227:(1962)
3219:(1962)
3211:(1962)
3203:(1962)
3195:(1962)
3187:(1962)
3179:(1962)
3171:(1962)
3163:(1961)
3155:(1961)
3147:(1961)
3139:(1961)
3131:(1961)
3123:(1961)
3115:(1961)
3107:(1956)
3007:
2980:
2960:
2939:
2907:
2775:artnet
2684:
2646:
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2495:
2450:
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1727:
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1326:
1294:
1202:
1143:
1103:
1067:
1057:Warhol
1038:
939:coital
867:artnet
849:Whaam!
841:Whaam!
689:Flickr
538:Whaam!
536:, and
249:Popeye
165:Whaam!
73:Medium
45:Artist
3352:Nurse
3248:Crak!
1975:DCist
992:Notes
886:Dance
869:were
546:Crak!
403:, in
317:Hergé
67:80249
3168:Blam
3051:2012
3005:ISBN
2978:ISBN
2958:ISBN
2937:ISBN
2905:ISBN
2867:2013
2839:2013
2811:2013
2783:2013
2755:2013
2727:2013
2695:2013
2682:ISBN
2657:2013
2644:ISBN
2596:ISBN
2573:2013
2560:ISBN
2493:ISBN
2448:ISBN
2419:ISBN
2361:2013
2348:ISBN
2323:2013
2296:2013
2263:2013
2250:Life
2231:2013
2218:ISBN
2182:ISBN
2145:ISBN
2119:The
2109:ISBN
2068:ISBN
2022:2013
2009:ISBN
1988:2013
1946:2012
1908:ISBN
1877:ISBN
1854:2013
1819:ISBN
1783:ISBN
1754:ISBN
1725:ISBN
1679:2013
1650:2013
1637:ISBN
1616:2013
1601:The
1582:2013
1557:2013
1525:ISBN
1473:2013
1408:2013
1377:2013
1364:ISBN
1324:ISBN
1305:2013
1292:ISBN
1267:2013
1232:2013
1200:ISBN
1177:2013
1141:ISBN
1101:ISBN
1065:ISBN
1036:ISBN
1013:2013
865:and
851:and
843:and
772:MirĂł
770:and
684:Life
675:Life
618:and
492:and
489:Blam
427:and
345:and
335:and
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