Pop Art: Ohhh...alright Painting by Roy Lichtenstein

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Pop Art: Ohhh…Alright Painting by Roy Lichtenstein

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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 background of yellow that somehow is insignificant and draws the viewer straight into her emotional state.

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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… suggestive, sensual and reflect a woman who's 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 palette and black contours clearly is drawn from the work of modernist Dutch artist Piet Mondrian. The points (or dots) although are magnified and cropped from the comics' image, using a variety of stencil techniques, are an interpretation of the Impressionist style and Monet in particular.

An image, with cold and simple fire the imagination. Abstracts artists would have possibly were angered as they saw their whole world of anguish vanish with this work of irony and witty yet beautifully executed.

The use of comics appealed to Lichtenstein, although he was not a fan he could never go back to the previous form of art of his early career. However he continues to interpret 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 and turning it upside down and viewed its refection in mirrors, almost to eliminate any excess or doubling of. He thrived on contradiction and transformed his original sources of inspiration. He believed 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 joyful and stress free, and by 1964 and despite the controversy about pop art, Lichtenstein reputation was established as one of the most iconic pop artist.

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