Appearance
🎉 your wikipedia🥳
"Engagement Ring is a 1961 pop art painting by Roy Lichtenstein. The work is based on the Winnie Winkle series, but Lichtenstein changed both the graphical description and the narrative accompaniment that he presents in a speech balloon. As with most of his early romance comics works, this consisted of "a boy and a girl connected by romantic dialogue and action". Details The source for Engagement Ring was the July 16, 1961 Winnie Winkle by Martin Branner The original source was a Martin Branner panel from the July 16, 1961 Winnie Winkle published in the Chicago Tribune. Measuring 172.1 cm × 201.9 cm (67 3/4 in × 79 1/2 in), Engagement Ring's "patchy" screen of small flesh coloring Ben-Day dots and "staccato" drawing are considered tentative. The general "rawness" of the work links it to Lichtenstein's work from the 1950s, while its "integrated formality" links it to his subsequent works. Lichtenstein used only a few basic colors, with the same red being used for the fingernails, lips, drapes, and wall, while the same yellow provided the color for the hair and the lampshade. Although the painting is considered "a fully characteristic painting, conceptually and manually", it is not as poised a composition as his subsequent works. The style of the painting is described as "dry" and with "the color compression and linear simplification of the comics are dilated to the scale of easel painting". Using a single frame of a comic book source draws the reader in without providing closure with a clear expected outcome and without explaining the circumstances. When Lichtenstein had his first solo show at The Leo Castelli Gallery in February 1962, it sold out before opening. Engagement Ring was one of the works in the show (along with works such as Look Mickey, Blam and The Refrigerator) and it sold for $1200 ($ in dollars). The show ran from February 10 through March 3. In 1962, Lichtenstein produced several paintings about engagement rings and wedding bands. See also *1961 in art Notes References * External links *Lichtenstein Foundation website Category:1961 paintings Category:Paintings by Roy Lichtenstein "
"Golf Ball (sometimes Golfball) is a 1962 painting by Roy Lichtenstein. It is considered to fall within the art movement known as Pop art. It depicts "a single sphere with patterned, variously directional semi-circular grooves." The work is commonly associated with black-and-white Piet Mondrian works. It is one of the works that was presented at Lichtenstein's first solo exhibition and one that was critical to his early association with pop art. The work is commonly critiqued for its tension involving a three-dimensional representation in two dimensions with much discussion revolving around the choice of a background nearly without any perspective. History When Lichtenstein had his first solo show at the Leo Castelli Gallery in February 1962, it sold out before opening. Golf Ball was one of the works that Lichtenstein exhibited. Later, Lichtenstein included Golf Ball in Still Life with Goldfish Bowl, 1972, and Go for Baroque, 1979. The painting exemplifies the novel superimposition of abstraction and figuration. The work also represents abstraction as a result of elimination of three-dimensionality, chiaroscuro and a landscape context. Golf Ball is said to reflect the black and white elements of Compositions in Black and White, 1917, Piet Mondrian. The use of black and white is regarded as dramatic, and although it may have been influenced by 1940s and 1950s works of Willem de Kooning, Franz Kline and Robert Motherwell, it is more likely a commentary on Mondrian's 1917 Composition in Black and White. Alternatively, it may have been a reference to another of Mondrian's Pre-World War I black and white oval paintings, such as Pier and ocean, 1915. For someone familiar with modern art, the formally related oval paintings of Piet Mondrian from before the First World War (Ill. p. 26) may come to mind. This complementary source art was common of Lichtenstein's 1960s work on frequently advertised objects. "Lichtenstein's dramatic use of black and white is also a feature of subsequent paintings such as Golf Ball, 1962 ... Lichtenstein describes his sources as Mondrian Plus and Minus paintings. Description In 1962, Lichtenstein produced several works in which he depicted "...the repetitive regularity of their patterned surfaces..." Golf Ball is a depiction of a golf ball using a Mondrianesque set of black and white arcs to depict the three-dimensionality of the subject. However, the neutral background manipulates the image and diminishes the volumetric characteristics by stripping the viewer of his perspective. It is described as a "pure graphic mark on a gray ground" as well as a "totality of abstract marks." Lichtenstein described Golf Ball as "the antithesis of what was thought of as having 'art meaning'" because of its lack of perspective. Golf Ball is an example of the emerging "confident authority" of his single- image paintings with its "Rock of Gibraltar-like thereness". The "frontal and centralized presentation"'s directness lacked the sophistication to market the images of household goods for advertising but was considered daring artistically. The black and white painting on a grey background challenges both the natural perception of realism and the boundaries of abstraction. The work "gives us both the impression of space and the fact of surface". Golf Ball was one of the bases by which "critics aligned him with other practitioners of Pop Art", although much is made about the painting's references to abstract painting, especially its likeness to Mondrian's works. Furthermore, the painting leverages tensions regarding three-dimensional representation in two dimensions resulting from spatial ambiguities caused by the lack of cues in the background. Reception Diane Waldman refers to the subject of Golf Ball as a freestanding form. This is one of the figures in which Lichtenstein demonstrates his draftsman experience. "Lichtenstein's experience as a draftsman is reflected in his spare presentation of kitchen stoves, washing machines, bathroom interiors, golf balls, ice cream sodas.... This work demonstrated his maturation as an artist with standardized contours that present uniformity and solidified inflections. This is a strong example of presenting the tension of volumetric potential balanced against two- dimensional presentation. "Both Black Flowers and Golf Ball are successful examples of this dialectic. It also shows how placement against a neutral background diminishes three-dimensionality. Despite Lichtenstein's techniques to display/minimize dimensionality, the viewer imposes his or her own visualization experiences on the painting, which minimizes the effect of spatial illusion. "We know that a golf ball is three-dimensional, and so most of us project the additional dimension onto such a two-dimensional image even though it may not be depicted in that manner." See also * 1962 in art Notes References * * External links *Golf Ball at the Lichtenstein Foundation website Category:1962 paintings Category:Paintings by Roy Lichtenstein Category:Sports paintings Category:Still life paintings Category:Golf culture "
"M-Maybe is a 1965 pop art painting by Roy Lichtenstein. It is one of his romance comics-based works. History Lichtenstein's first solo show at The Leo Castelli Gallery in February 1962 sold out before opening. Engagement Ring sold for $1200 and Blam sold for $1000. Prices for his work rose quickly. In 1965, German collector Peter Ludwig asked Castelli, what price Lichtenstein might accept to sell M-Maybe from his personal collection. By then, the going rate for a Lichtenstein was $6000 and Castelli estimated $12,000. Ludwig offered Lichtenstein $30,000 to purchase the work. Details M-Maybe depicts an blonde attractive girl, which is typical of Lichtenstein's romance comics adaptations. As is a common theme among these works, she awaits a man in a vague but urban setting. The thought bubble reads "M–Maybe he became ill and couldn’t leave the studio". The text and her expression jointly capture her continuing worry and anticipation. David Britt likens the work to Victorian narrative painting because Lichtenstein invites much speculation with the work, including the identities of the present and absent subjects of the work as well as the "nature of the situation". I.e, what might be holding up his arrival. Eckhard Schneider describes this single-frame style of art as stills suddenly halting a narrative associated with young women's predicaments, noting that "The private tone of the words increases the paintings’ aura of authenticity, like verbal snap-snots – an aspect especially apparent in the hesitantly voiced ‘M-Maybe’." However, Lichtenstein idealizes the appearance with graphic tension that separates the emotional subject matter from the apparent poise of the depiction. Lichtenstein had a desire that his paintings look as mechanical as possible although he was a painter. Rather than selecting subject matter from photographs by an individual, he selected teen and action comics, such as the obvious source for this work, as subjects since they were illustrated by teams that produced source material that was devoid of "personal elements of style". After 1963, Lichtenstein's comics-based women "look hard, crisp, brittle, and uniformly modish in appearance, as if they all came out of the same pot of makeup." This particular example is one of several that is cropped so closely that the girl's hair flows beyond the edges of the canvas. This is an example of Lichtenstein humorously presenting a subject that might be crowded out in a newspaper with a sort of ironic self-awareness that relies on the difference between art and the rest of the world. See also *1965 in art Notes External links * Lichtenstein Foundation website Category:1965 paintings Category:20th-century portraits Category:Paintings by Roy Lichtenstein Category:Portraits by American artists "