époque. Whaam ! 1963 huile et acrylique sur toile
cleaning of modern and contemporary art. Dr. Bronwyn Ormsby Principal Scientist
22 juin 2017 Each sheet measures: 24.75 h x 29 w inches. Printed manufacturer's mark to lower edge of each sheet 'Published by The Tate Gallery London.
Whaam ! Roy. Lichtenstein
26 janv. 2017 Each sheet measures: 24.75 h x 29 w in. Printed manufacturer's mark to lower edge of each sheet 'Published by The Tate Gallery London. Roy.
Roy Lichtenstein. The impact of modern paints. Lon- don: Tate Gallery Publishing Ltd; 2000. p. 112–25. 3. Bailey
Chairman of the Trustees of the Tate Gallery. Tate St Ives from across Bridge and in Borough Market near to Tate Modern
Roy Lichtenstein Whaam
http://downloads.bbc.co.uk/modernmasters/pdf/modernmasters_south_bank.pdf
To the right the original sketch for. “Whaam!” which was donated to. London's Tate Gallery. It shows the piece was originally going to be a single image
Roy Lichtenstein (American 1923-1997) Modern Painting with Red Slant 1967 Oil and Magna on canvas Private Collection; L2020:118 2 The groundbreaking visual exploits of Roy Lichtenstein were rooted in a youth attending museums in New York where he was inspired by such artists as Rembrandt Daumier and Picasso Lichtenstein elaborated on his
Roy Lichtenstein's serious comic-inspired canvas Whaam! disrupted the art world in the mid-1960s, delivering an enigmatic salvo at both the conventions of artistic expression and the post-war representation of conflict. By reworking a comic book image of an American jet destroying an enemy plane, Lichtenstein blows up audience expectations.
ISBN 978-0-307-40652-1. He translated one of Roy Lichtenstein's most famous paintings by putting giant letters spelling "WHAAM!" on a yellow clevore evening gown. He adorned a silk halter-neck gown with Andy Warhol's celebrated images of Marilyn Monroe ... ^ Teachout, Terry (6 August 2003).
Lichtenstein adapted the image from several comic-book panels. He transformed his primary source, a panel from a 1962 war comic book, by presenting it as a diptych while altering the relationship of the graphical and narrative elements. Whaam! is regarded for the temporal, spatial and psychological integration of its two panels.
It shows the original plan was a single unified work. Lichtenstein's technique has been characterized by Ernst A. Busche as "tthe enlargement and unification of his source material ... on the basis of strict artistic principles". Extracted from a larger narrative, the resulting stylized image became in some cases a "virtual abstraction".