Ohhh…Alright are magnified and cut from the original

Ohhh…Alright painting is
one of the many work created by Roy Lichtenstein’s After 1963 using comics’
images which was derived from June 1963 edition of Secret Hearts #88 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

Her eyebrow raised in attempt to depict her
anxious beautiful face, clutching the reciver, offer many interpretations, but
to mind of that is a woman almost
desperate and entirely engaged with the object rather that with person on the
other end of the line. Such iconic work is typical of several paintings
by Lichtenstein that are cropped while the edges flow beyond the canvas.
Although painted in the early sixties and seems to reflect the constraints
views held on women in the previous decade, Lichtenstein choice of colours and
flat style clearly drawn from the work of famous modernist Dutch artist Piet
Mondrian. Yet using dots that are magnified and cut from the original comics
Lichtenstein creates an image with a variety of stencil techniques, reelecting
the times that were conceived and with that establishes himself among to A list
of pop artists. Applied with mechanical precision, he transformed commercial
images into art.  Ohhh…Alright…is
suggestive, sensual and reflect a woman who’s vulnerable, almost tearful but also composed,
and in control of her emotions.

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An image, with coldness and simplicity evokes
emotions and fire the imagination. Abstracts artists would have possibly
founded it upsetting 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 and he could never go back to the
previous form of art of his early career. However the influence of Picasso was
highly evident in his work so as Matisse and Monet.

His approach to work was joyful and playful, and
by 1964 and despite the controversy about pop art, Lichtenstein name was known
internationally among the art scene. He treated his work more as marks than a
subject and viewed it upside down and reflected 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.  


While Liechtenstein painted the world as a comic
strip, he imitated the technique of mass production in the same way as
mechanical reproduction has imitated the techniques of artists. 


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