10 EVENT REVIEW Lichtenstein: A Retrospective from HM’s perspective
If I were to say the words Roy Lichtenstein what comes to mind? If ‘Pop Art’ and ‘Whaam!,’ are your response and images of cartoon like artwork come to mind then ding! ding! ding! you’re right.
But there’s so much more to Lichtenstein than that piece…. a whole lot more. Thankfully Tate Modern’s Lichtenstein: A
Lichtenstein: A
Retrospective brings together the largest collection of his works to be exhibited in years.
Across 13 rooms Tate Modern represents four decades of Lichtenstein’s work. It charts his early works, black and white phase, infamous War and Romance series, infatuation with Chinese Landscapes, odes to Art greats of yesteryear, like Matisse and Picasso, ingeniously crafted sculptures and more.
Stepping into this retrospective you see Lichtenstein’s journey and growth as an artist from first dabblings with the idea of cartoon imagery to his graduation to master of benday dots as well as his subsequent growth and exploration of his medium and of himself.
What hit me was Lichtenstein’s sheer skill in showing depth, light and shadow purely with the use and weight of line/ dots
as well as his ability to bring his works to life with the mostly limited palette of primary colours.
The War and Romance series sparked an emotional reaction in me, seeing the life-size originals of ‘Whaam!,1963’, Bratatat!, Hopeless and company was just remarkable. I’ve only known them as A4 or smaller images from the slideshows of art history tutors and library books. These pieces filled Tate Modern’s walls conveying a time where fear and the unknown was the norm in the unobtrusive language of comic books.
At that Lichtenstein was an expert, just as subtle is his comment on the life of the 60s woman with pieces; ‘Spray,
1962’, ‘The Ring (Engagement), 1962’, ‘Step On a Can With Leg, 1961’ and ‘Sponge,1962’. Stepford Wives much?
What I got from Lichtenstein: A Retrospective was a new found love and respect for the artist, and a whole new catalogue of works to admire. My particular favourites were ‘Look Mickey, 1961’, ‘Cubist Still Life, 1974’ and ‘Sunrise and The Red Horseman, 1974’.
If you missed the Tate Modern run, shame on you, you’ll have to wait for its return....If ever.
www.tate.org.uk/Lichtenstein
• Words: Enam G Image: Interior With Waterlillies, 1991, Roy Lichenstein
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