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 small
yellow background draws the viewer straight into the woman emotional state.
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…Alright…is suggestive, sensual and reflect a
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, and give the
impression that woman are yet to be freed. Lichtenstein choice of paints not to
mention the black contours clearly is drawn from the work of modernist Dutch
artist Piet Mondrian. The points (or dots) although are blown up and cropped using
images and various stencil techniques, are an interpretation of the
Impressionist style and Monet in particular.
An image, cold and simple fire the imagination. His
work was beautifully executed, yet full of irony and wit.
Lichtenstein loved his new technique, and
therefore he could never go back to the previous form of art of his early
career. During his career he continues to be inspired by 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; he examines
his work from various angles, almost to eliminate any excess or doubling of. He
thrived on contradiction and transformed his original sources of inspiration.
He considered 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 playful, and by 1964 and despite the controversy about pop art,
Lichtenstein reputation was established as one of the most iconic pop artist.