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 background
of yellow that somehow is insignificant and draws the viewer straight into her
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, given the impression
that woman are yet to be freed. Lichtenstein choice of palette and flat surfaces
clearly is drawn from the work of modernist Dutch artist Piet Mondrian. The
points (or dots) although are magnified and cropped from the original work,
using a variety of stencil techniques, are an interpretation of the
Impressionist style and Monet in particular.
An image, with cold and simple fire the imagination.
Abstracts artists would have possibly were angered as they saw their whole
world of anguish vanish with this work of irony and witty yet beautifully
The use of comics appealed to Lichtenstein,
although he was not a fan he could never go back to the previous form of art of
his early career. However he continues to interpret 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 and turning it
upside down and viewed its refection 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. His
approach to work was joyful and playful, and by 1964 and despite the
controversy about pop art, Lichtenstein has established himself as one of the
most iconic pop artist.
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.