Roy Lichtenstein (1923, New York–1997)
The Woman in the Wheelchair, 1963
Oil painting, 172.7 cm × 122 cm, Museum of Modern Art, Hamburger Bahnhof, Berlin
In 1961, Roy Lichtenstein was inspired by the comic book world and began to create his own work. In the beginning, the painter completes the painting through color blocks. Later, the painter used the basic techniques of printing to accurately imitate the work, while also using traditional painting tools. Thus, Lichtenstein's work has the characteristics of both painting and bas-relief. In this way, Lichtenstein established his own creative style. These production procedures were decisive for the development of art in the second half of the 20th century: first borrowing an image, then analyzing the visual characteristics of the image, and finally recreating the image in a distinctive way.
As a result, Lichtenstein's work is not at all a faithful reproduction of the pre-selected original, as is often thought, nor is it an uninvolved imitation. His works make use of both photographic and printmaking techniques and traditional painting methods. Comparing the initial work (the biceps of a cartoon or advertisement or a reproduction of a work of art in this case) with the final image clearly shows a simplification, an effectiveness, and a unified study. Regardless of whether the source of the images he uses is mass or artwork, he has carefully processed these images and created works that are very delicate. His creative process is complex and can be divided into several stages: first on a small canvas, then the work is enlarged on a large canvas through slides, the artist uses a pencil to outline the figure, depicts the outline of the work, processes the screen printed mesh and fills the color area, and finally the work is completed. Thus, each of Lichtenstein's works is a re-creation based on a single image, as well as a reflection on the possibilities offered by different reproduction techniques, including traditional paintings: what else is possible for image reproduction techniques? What are the limitations of this technology? What other deviations will it bring? As this painting shows, thinking about print reproductions should not be limited to the figures of characters in the comic book world. The dissemination of mediocre images, which were customarily used by the mass media, also caused some damage to the high art. Here, Lichtenstein chose a painting by Picasso (The Woman in the Armchair, 1941) as a highly recognizable starting point. The transition of chiaroscuro is reduced to an area of the same color, the body plane is reduced to a geometric outline, and the effect of a deep sense of penetration is abandoned, while promoting a primary sense of flatness. Lichtenstein used elements of portraiture (such as a flower modeled on a hat in another painting from the same series), as well as an overall effect of image and background. In this way, Lichtenstein standardized Picasso's very complex works. Lichtenstein's work should not be seen as a botched imitation of a classic, but rather as an artist's study of artistic images devalued by the influence of reproduction techniques. People can reproduce images on a technical level, and the value of these copied images is naturally devalued. Lichtenstein's research also has certain significance for the future of painting in the culture of modern industrial society.
Excerpt from Contemporary Art
Global Art History
[Italy] by Alexandre del Popo
Translated by Zhou Binbin
Shanghai Sanlian Bookstore Phoenix Yili
The problem in the art world today is that art can make people think of many things, but in particular, art is not like anything. We know what art means, but we're not sure what it is.
The book is accompanied by exquisite pictures that show the reader the development of modern art.
Synopsis
Contemporary Art is one of the books in the "Global Art History" series. This book introduces readers to the development of contemporary art from the 20th century to the present, taking the rise of a new generation of artists represented by Pollock as the source, selecting iconic events in contemporary art to expound, and revealing the roots of some interesting phenomena unique to contemporary times.
Introduced from Italy, the "Global Art History" series is a new, open and systematic encyclopedia of world art that introduces readers to artistic creations from different periods and countries.
About the Author
Alexander del Popo is a professor at the University of Udine in Italy, a researcher of art history, and the author of several works on art history, including Contemporary Art.
Translator Profile
Zhou Binbin, graduated from Beijing Second Chinese College of Foreign Language and Literature, majoring in Italian Language and Literature. She has translated manuscripts for a number of cooperative units, participated in international level examination projects and obtained excellent results, translating "Art in the Romantic Era", "Art in the Napoleonic Era", "Vatican Tombs" and so on.
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