Roy Lichtenstein was born in New York in October 1923 and
died there in September 1997. He became interested in art while at school and
studied fine arts at Ohio State University, where he became a teacher with his
career being interrupted by serving for three years in the Army between 1943
and 1946.
He experimented with several artistic styles, including
cubism and abstract expressionism, until – in the early 1960s - he developed
his own highly individual style that made him a leader of the movement known as
Pop Art.
Lichtenstein’s most famous technique was derived from American
comic strips which used devices such as dot-printing and strong primary colours
to enable them to be printed cheaply in mass-circulation newspapers.
Lichtenstein simply took these conventions – and actual strip-cartoon images –
and blew them up to huge sizes, with “Whaam!” probably being the best-known
example.
Whaam! dates from 1963 is now part of the permanent
collection of London’s Tate Modern gallery. It is a two-canvas work, thirteen
feet wide (in total) and five-and-a-half feet deep. The materials used are
acrylics and oils.
The scene is one fighter plane firing at a second plane,
which explodes. The attacking plane, in the left-hand panel, is accompanied by
the pilot’s words: “I pressed the fire control … and ahead of me rockets blazed
through the sky …” (in block capital letters). The exploding plane in the
right-hand panel has the word “WHAAM!” in large letters alongside the lurid red
and yellow flames of the explosion.
Lichtenstein took this image from an actual strip-cartoon,
drawn by Irv Novick in 1962 for a publication entitled “All-American Men of
War” that was published by DC Comics. He has therefore been accused of
plagiarism in his work – not only here but in other works – but in his defence
it could be said that many artists down the centuries have done similar things
by taking an existing image and presenting it to a different public in a novel
way. That was certainly how Lichtenstein himself defended his work.
In order to create his work, Lichtenstein made preliminary
drawings which he projected onto his primed canvases before drawing round the
shapes in pencil. The area of dots, namely the sky and the body of the plane, was
added by pushing oil paint through an aluminium mesh with a small scrubbing
brush. The outlines were then filled in with acrylic paint.
The net result of a strip-cartoon blown up to a massive size
excites amusement rather than horror at the violence of the scene. This is war,
but it is stupid war. It is a fantasy scene that cannot be taken seriously.
Lichtenstein created this work at the same time that the
United States was becoming involved in the Vietnam War and the artist – who was
also a military veteran – is surely telling his fellow Americans that it makes
no sense to enter conflicts that can be reduced to comic-book images.
Another possible interpretation is that this work in
“diptych” form harks back to medieval altarpieces that likewise told people
about the horrors of Hell that would await people who did not repent of their
sins.
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