Reproductions of paintings by Roy Lichtenstein. Museum quality or normal. Hand painting.
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Roy Lichtenstein was one of the first pop artists Americans to achieve widespread fame and he became an attraction for critics of the movement.
His early work varied widely in style and subject matter, and showed a considerable understanding of modern painting: Lichtenstein often asserted that he was as much interested in the abstract qualities of his pictures as in their subject matter. However, the mature Pop style he arrived at in 1961, inspired by comic books, was met with accusations of banality, lack of originality and, later even, copy.
His iconic high-impact images have since become synonymous with Pop art, and his method of creating images, which blended aspects of mechanical reproduction and hand-drawing, became central to critics' understanding of the importance of movement.
The art had carried references to popular culture throughout the XNUMXth century, but in Lichtenstein's works, the styles, subjects, and reproduction techniques common in popular culture seemed to entirely dominate the art. This marked a major change from theabstract expressionism, whose often tragic themes were supposed to spring from the souls of the artists; Lichtenstein's inspirations came from the culture at large and suggested little, if at all, of the artist's individual feelings.
In the early 1960s, Lichtenstein was frequently accused, somewhat offhandedly, of simply copying his images from comic books.
His method, however, involved considerable modification of the source images. The extent of these changes, and why the artist introduced them, has long been central to discussions of his work, as it would seem to indicate that he was primarily interested in producing pleasing artistic compositions, or to shock its viewers by using the garish impact of popular culture.
Lichtenstein's emphasis on methods of mechanical reproduction—particularly through his characteristic use of Ben-Day points — highlighted theone of the central lessons of Pop art that all forms of communication, all messages, are filtered through codes or languages. Arguably, he learned his appreciation of the value of codes from his early work, which drew on an eclectic range of modern painting.
This appreciation may also have encouraged him later to produce works inspired by masterpieces of modern art ; in these works he argued that high art and folk art were no different: both are based on code.
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