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The original source had dialog related to the repeated torpedoing of the same ship, but
Lichtenstein cut the entire speech balloon down to two words. He moved the captain's scar from his nose to his cheek and he made the captain appear more aggressive by depicting him with his mouth wide open, also opting to leave the eye which was not looking through the periscope open. He also made the ship appear to be more technologically sophisticated with a variety of changes. The scar was actually most readily apparent in panels other than the source from the same story.
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303:. The styling of the balloon content, especially that of the large font characters, is complemented by or complementary to the other traditional visual content of the painting. Lichtenstein's alterations heightened the sense of urgency in the image, however, they also offset that menace by forming a detached work. A November 1963
143:. Lichtenstein has made significant alterations to the original image to change the focus and perspective in addition to significant alteration of the narrative element of the work. The work plays on the background-foreground relationship and the theme of vision that appears in many of Lichtenstein's works.
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This painting exemplifies
Lichtenstein's use of the background/foreground shift and ironic colloquialisms in critical commands. Although most of Lichtenstein's war imagery depicts American war themes, this depicts "a scarred German submarine captain at a battle station". The manner of depiction with
279:
This work exemplifies
Lichtenstein's theme relating to vision. Lichtenstein uses a "mechanical viewing device" to present his depiction of technically aided vision. The depicted mechanical device, a periscope in this case, forces the vision into a monocular format. In some of his works such as this,
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is an oil on canvas painting. By enlarging the face of the captain relative to the entire field, Lichtenstein makes him more prominent than in the source. He retained the source's "clumsiness" in how the secondary figure is presented and replaced the dialogue with a much shorter "cryptic command".
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notes that "...his work proposes a dialectical tension between monocular and binocular modes of vision, a tension that operates on the level of gender as well." The work is regarded as one in which
Lichtenstein exaggerated comic book sound effects in common pop art style.
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reflects fusions of industrial art of the 1920s and 1930s. The ironic aspect of this in 1963 is in part due to its temporal displacement referring back to World War II during the much later period of the
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auction up to that date. The seller of the work was
Beatrice C. Mayer, the widow of Museum of Contemporary Art, Chicago founder and board member Robert B. Mayer as well as daughter of
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How Much Is That in Real Money? A Historical Price Index for Use as a
Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda
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was expected to sell for $ 3 to 4 million at the time. In 1991, Mayer became one of the key benefactors of the new Museum of
Contemporary Art Building.
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by
Lichtenstein. The sale was described as the "highpoint" of a night in which Christie's achieved more than double the total sales prices of any other
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How Much Is That in Real Money? A Historical Price Index for Use as a
Deflator of Money Values in the Economy of the United States
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259:. Prior to the sale the work was part of the Robert B. Mayer Memorial Loan Program and was exhibited at colleges and museums.
191:#71 (October 1962), although the content of the speech balloon is different. According to the Lichtenstein Foundation website,
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Lobel, Michael (2003). "Pop according To
Lichtenstein". In Holm, Michael Juul; Poul Erik Tøjner; Martin Caiger-Smith (eds.).
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was part of Lichtenstein's second solo exhibition at Leo Castelli Gallery of September 28 – October 24, 1963, that included
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Hendrickson, Janis (1993). "The Pictures That Lichtenstein Made Famous, or The Pictures That Made Lichtenstein Famous".
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review stated that this was one of the "broad and powerful paintings" of the 1963 exhibition at Castelli's Gallery.
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for $ 5.5 million (US$ 13.5 million in 2023 dollars) to Zurich dealer Thomas Ammann, which was a record for a
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in the painting. The work was included in Lichtenstein's second solo exhibition. The source of the image is a
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Lobel, Michael (2009). "Technology Envisioned: Lichtenstein's Monocularity". In Bader, Graham (ed.).
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described the work as "a comic-strip image of sea warfare". It formerly held the record for the
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monocularity is a strong theme that is directly embodied although only by allusion.
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Measuring 68 by 80 inches (172.7 cm × 203.2 cm),
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Madoff, Steven Henry, ed. (1997). "Focus: The Major Artists".
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Like many of Lichtenstein's works its title comes from the
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Judd, Donald. "Reviews 1962–64". In Bader (ed.).
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I Can See the Whole Room...and There's Nobody in It!
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Waldman, Diane (1993). "War Comics, 1962–64".
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340:"A de Kooning Work Sets A Record at $ 20.7 Million"
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183:-written story "Battle of the Ghost Ships?", in
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223:Marketing materials for the show included the
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713:. Parkstone Press International. p. 97.
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122:highest auction price for a Lichtenstein work
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680:"Trustees endow success of a new art museum"
474:. LichtensteinFoundation.org. Archived from
939:(second ed.). Routledge. p. 141.
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830:Batman Unmasked: Analyzing a Cultural Icon
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709:Shanes, Eric (2009). "The Plates".
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114:. When it was last sold in 1989,
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994:Roy Lichtenstein: October Files
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748:Roy Lichtenstein: All About Art
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458:Roy Lichtenstein: October Files
338:Reif, Rita (November 9, 1989).
966:University of California Press
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1704:Paintings by Roy Lichtenstein
1471:Cubist Still Life with Lemons
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1023:Solomon R. Guggenheim Museum
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16:Painting by Roy Lichtenstein
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1673:Mitchell Lichtenstein (son)
1621:Mural with Blue Brushstroke
992:Bader, Graham, ed. (2009).
962:Pop Art: A Critical History
877:Coplans, John, ed. (1972).
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827:Brooker, Will (2001).
472:"Search Result: CRAK!"
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1570:The Head of Barcelona
1503:Nudes with Beach Ball
1415:Girl with Hair Ribbon
388:, pp. 96–97, 104
370:Grand Comics Database
235:On November 7, 1989,
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1287:Okay Hot-Shot, Okay!
253:Sara Lee Corporation
1699:Naval war paintings
1431:Little Big Painting
835:Bloomsbury Academic
505:. pp. 118–20.
189:Our Fighting Forces
169:Our Fighting Forces
1629:Times Square Mural
1530:Expressionist Head
1407:Big Painting No. 6
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596:The New York Times
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89:Private collection
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1554:Five Brushstrokes
1546:Five Brushstrokes
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1375:Ohhh...Alright...
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657:Chicago Sun-Times
512:978-0-262-01258-4
501:. October Files.
478:on March 12, 2016
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1594:Brushstrokes
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1399:Brushstrokes
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865:Waldman 1993
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574:February 29,
572:. Retrieved
552:
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480:. Retrieved
476:the original
466:
457:
436:. Retrieved
432:the original
428:"Chronology"
422:
410:. Retrieved
406:the original
386:Waldman 1993
361:
349:. Retrieved
343:
305:Art Magazine
304:
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215:Conversation
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106:) is a 1963
102:
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1656:BMW Art Car
1640:Other works
1586:Brushstroke
1562:Modern Head
1343:Happy Tears
1255:Crying Girl
1223:Takka Takka
1207:Masterpiece
1151:Mr. Bellamy
1143:Look Mickey
545:1700–1799:
525:1634–1699:
317:1963 in art
267:Description
245:work of art
100:(sometimes
1688:Categories
1514:Sculptures
1279:In the Car
1159:Roto Broil
986:References
892:0713907614
844:0826413439
815:Lobel 2009
803:Lobel 2009
791:Lobel 2009
771:Lobel 2009
734:Lobel 2009
691:August 23,
663:August 23,
624:"Auctions"
241:Christie's
225:lithograph
210:In the Car
147:Background
137:comic book
78:Dimensions
1652:(1965–66)
1239:Bratatat!
1191:Jet Pilot
1183:Golf Ball
1095:Paintings
503:MIT Press
296:periscope
289:Reception
227:artwork,
185:DC Comics
181:Bob Haney
177:Jack Abel
165:Jack Abel
163:, art by
161:Bob Haney
141:DC Comics
128:in 1991.
1271:Hopeless
1175:Brattata
850:June 23,
550:(1992).
530:(1997).
482:June 26,
311:See also
301:Cold War
255:founder
239:sold at
86:Location
67:Movement
1666:Related
1602:House I
1522:Mermaid
1439:M-Maybe
1303:Varoom!
1199:Kiss II
711:Pop Art
438:June 9,
412:May 20,
368:at the
108:pop art
72:Pop art
1658:(1977)
1650:series
1632:(1994)
1624:(1986)
1613:Murals
1605:(1996)
1597:(1996)
1589:(1996)
1581:(1994)
1573:(1992)
1565:(1989)
1541:(1984)
1533:(1980)
1525:(1979)
1506:(1994)
1498:(1994)
1490:(1993)
1482:(1992)
1474:(1975)
1466:(1973)
1458:(1966)
1450:(1965)
1442:(1965)
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1426:(1965)
1418:(1965)
1410:(1965)
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1394:(1964)
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1354:(1964)
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1322:(1963)
1314:(1963)
1311:Whaam!
1306:(1963)
1298:(1963)
1290:(1963)
1282:(1963)
1274:(1963)
1266:(1963)
1258:(1963)
1250:(1963)
1242:(1963)
1234:(1963)
1226:(1962)
1218:(1962)
1210:(1962)
1202:(1962)
1194:(1962)
1186:(1962)
1178:(1962)
1170:(1962)
1162:(1961)
1154:(1961)
1146:(1961)
1138:(1961)
1130:(1961)
1122:(1961)
1114:(1961)
1106:(1956)
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754:
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635:May 9,
602:May 9,
509:
351:May 9,
220:Whaam!
217:, and
56:Medium
38:Artist
1351:Nurse
1247:Crak!
779:CRAK!
557:(PDF)
537:(PDF)
323:Notes
230:Crak!
139:from
1167:Blam
1027:ISBN
1002:ISBN
970:ISBN
941:ISBN
916:ISBN
887:ISBN
852:2013
839:ISBN
777:and
752:ISBN
715:ISBN
693:2009
665:2009
637:2012
604:2012
576:2024
507:ISBN
484:2013
440:2013
414:2012
353:2012
51:1963
48:Year
1690::
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330:^
213:,
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1080:e
1073:t
1066:v
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
