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Big Painting VI.

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Larger Image	Larger image may be viewed by UofL faculty, staff, and students only (log-in required using ULink username/password) at: http://echo.louisville.edu/login?url=http://vrc-web.louisville.edu/Jpegs/820/827-33.jpg
Title	Big Painting VI.
Creator	Lichtenstein, Roy (American painter, sculptor, and printmaker, 1923-1997)
Date	1965
Cultural Context	American North American
Style/Period	Pop (fine arts styles) Abstract (fine arts style)
Theme	Paintings (visual works) Oil paintings (visual works) Acrylic paintings (visual works) Expression Abstraction Ben Day dots Brush strokes Comic books Comic strips Comics (documents)
Subject	Paintings Oil paintings Abstract paintings Abstract works Comic books Comics
Description	"Whilst clearly representing a critique of free expression, Lichtenstein's 'brushstrokes', like most of his other Pop works, had an exact comic-book source. They initially derived from a strip entitled 'The Painting' published in Charlton Comics' Strange Suspense Stories no. 22 of October 1964. Elements of this strip were originally incorporated, in a redesigned format, in Lichtenstein's Brushstrokes of the same year." (Caption, p.110); "[Robert] Rauschenberg's early 1960s silkscreen paintings appear convoluted alongside the colorful, emblematic images of Lichtenstein and [Andy] Warhol. Borrowing the compositional clarity of contemporaneous abstraction, they employed single images, ready designed from pre-existing commercial sources, in enlarged or repeated formats. Lichtenstein's brushstroke paintings of 1965-6 upstaged [Jasper] Johns's earlier parodies of Abstract Expressionist painterly largesse, translating its spontaneous flourishes into a formulaic graphic design idiom and turning 'expression' into one culturally mediated sign among others. His comic-strip images of the 1960s explored the stock signifiers of American mass culture. Square jaws connoted maleness, blonde hair and tears femininity. Gender roles were further demarcated into the spheres of combat (Lichtenstein's men are often at war in unspecified Asian locations, hinting at American involvement in Korea or Vietnam) and the domestic bedroom (women invariably agonize over love affairs). Skillfully transferring the Ben Day dots of the printer's screen and the stylizations of comic-book graphics into more satisfying 'abstract' designs, Lichtenstein asserted that his aim was to 'unify' his source materials visually, thus appeasing Modernist detractors scornful of debased 'copying' from 'kitsch'." (Excerpt, pp.111, 114)
Material	Oil and magna on canvas Oil paint (pigmented coating) Acrylic paint Paint Canvas
Measurements	233 x 328 cm
Technique	Painting (image-making) Oil painting (technique) Acrylic painting (technique)
Work Type	Paintings Oil paintings Acrylic paintings Abstract paintings Abstract works
Repository	Nordrhein-Westfälisches Hauptstaatsarchiv (Düsseldorf, Germany)
Source	Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (p.110, fig.54)
Rights	Photo Walter Klein. Reproduced in Hopkins courtesy of Kunstsammlung Nordrhein-Westfalien, Düsseldorf. © Estate of Roy Lichtenstein/DACS, 2000.
Digital Publisher	University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center
Format	image/jpeg
Digital File Name	VRC 827-33.jpg
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