| Blam | |
|---|---|
 | |
| Artist | Roy Lichtenstein |
| Year | 1962 |
| Movement | Pop art |
| Dimensions | 172.7 cm× 203.2 cm(68 in× 80 in) |
| Location | Yale University Art Gallery |
Blam (sometimes Blam!) is a 1962 painting by Roy Lichtenstein falling within the pop art idiom. It is one of his military comic book derivatives and was one of the works presented at his first solo exhibition. The work is in the collection at the Yale University Art Gallery.
The painting is based on Russ Heath's art in the comic book All-American Men of War issue #89 (January-February 1962), published by National Periodical Publications. [1] The painting depicts a pilot ejecting from an exploding plane. [2] The same issue was the inspiration for several other Lichtenstein paintings, Okay Hot-Shot, Okay! , Brattata , Whaam! and Tex! [3] The graphite pencil sketch, Jet Pilot was also from that issue. [4]
When Lichtenstein had his first solo show at The Leo Castelli Gallery in February 1962, it sold out before opening. Blam sold for $1000 ($8,283 in 2018 dollars [5] ), according to one source, [6] but less than $1000 according to another. [7] The exhibition included Look Mickey , [8] Engagement Ring and The Refrigerator. [9] The show ran from February 10 through March 3. [10] The work appeared in the exhibition entitled 'The New Realists' at the Sidney Janis Gallery [11] from November 1 to December 1, 1962.
Lichtenstein began his war imagery efforts with single frame pictures such as BLAM. [2] Blam uses quintessential war imagery. Although the text is limited to one four-letter word, the narrative is unnecessary owing to the eminent realism presented. The canvas is loaded with images surrounding the focal figure, of the aircraft under attack. [12] It is regarded, along with Takka Takka as "successful in their combination of brilliant color and narrative situation". [13] Blam is a jest with the viewer that uses an exclamation without narrative context. [14] Like Blang (1962) and Varoom (1963), Blam's onomatopoeia explodes "like a violent central sun over the entire composition". [15] Lichtenstein has revised the original source so that the aircraft and its explosion are the joint foci from which the painting radiates. Unlike the original, which had substantive narrative content, Lichtenstein's version has more formality and a linear pattern, but a more simplified surface. [16]
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Roy Fox Lichtenstein was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in-cheek manner. His work was influenced by popular advertising and the comic book style. He described pop art as "not 'American' painting but actually industrial painting". His paintings were exhibited at the Leo Castelli Gallery in New York City.
Whaam! is a 1963 diptych painting by the American artist Roy Lichtenstein. It is one of the best-known works of pop art, and among Lichtenstein's most important paintings. Whaam! was first exhibited at the Leo Castelli Gallery in New York City in 1963, and purchased by the Tate Gallery, London, in 1966. It has been on permanent display at Tate Modern since 2006.
Little Big Painting is a 1965 oil and Magna on canvas pop art painting by Roy Lichtenstein. It is part of the Brushstrokes series of artworks that include several paintings and sculptures. It is located at the Whitney Museum of American Art in New York City. As with all of his Brushstrokes works, it is in part a satirical response to the gestural painting of abstract expressionism.
Girl with Ball is a 1961 painting by Roy Lichtenstein. It is an oil on canvas Pop art work that is now in the collection of the Museum of Modern Art, after being owned for several decades by Philip Johnson. It is one of Lichtenstein's earliest Pop art works and is known for its source, which is a newspaper ad that ran for several decades and which was among Lichtenstein's earliest works sourced from pop culture.
Look Mickey is a 1961 oil on canvas painting by Roy Lichtenstein. Widely regarded as the bridge between his abstract expressionism and pop art works, it is notable for its ironic humor and aesthetic value as well as being the first example of the artist's employment of Ben-Day dots, speech balloons and comic imagery as a source for a painting. The painting was bequeathed to the Washington, D.C., National Gallery of Art upon Lichtenstein's death.
Big Painting No. 6 is a 1965 oil and Magna on canvas painting by Roy Lichtenstein. Measuring 235 cm × 330 cm, it is part of the Brushstrokes series of artworks that includes several paintings and sculptures whose subject is the actions made with a house-painter's brush. It set a record auction price for a painting by a living American artist when it sold for $75,000 in 1970. The painting is in the Kunstsammlung Nordrhein-Westfalen collection.
Mural with Blue Brushstroke is a 1986 mural painting by Roy Lichtenstein that is located in the atrium of the Equitable Tower in New York City. The mural was the subject of the book Roy Lichtenstein: Mural With Blue Brushstroke. The mural includes highlights of Lichtenstein's earlier works.
Drowning Girl is a 1963 painting in oil and synthetic polymer paint on canvas by Roy Lichtenstein. Using the conventions of comic book art, a thought bubble conveys the thoughts of the figure, while Ben-Day dots echo the effect of the mechanized printing process. It is one of the most representative paintings of the pop art movement, and part of the Museum of Modern Art's permanent collection since 1971. The painting is considered among Lichtenstein's most significant works, perhaps on a par with his acclaimed 1963 diptych Whaam!. Drowning Girl has been described as a "masterpiece of melodrama", and is one of the artist's earliest images depicting women in tragic situations, a theme to which he often returned in the mid-1960s.
Roto Broil is a 1961 pop art painting by Roy Lichtenstein. It was one of the consumer goods paintings made in the early 1960s that "made a splash, sold well and immediately polarized the critics."
Mermaid is a 1979 outdoor sculpture by Roy Lichtenstein, composed of concrete, steel, polyurethane, enamel, palm tree, and water. It is located in Miami Beach at the Fillmore Miami Beach at Jackie Gleason Theater. Measuring 640 cm × 730 cm × 330 cm, it is his first public art commission according to some sources, although others point to a temporary pavilion that predates this work. It is also the second piece of public art in the city of Miami Beach. Since the sculpture was installed, it has been restored several times, and the theater that it accompanies has been restored and renamed twice.
Brushstrokes series is the name for a series of paintings produced in 1965–66 by Roy Lichtenstein. It also refers to derivative sculptural representations of these paintings that were first made in the 1980s. In the series, the theme is art as a subject, but rather than reproduce masterpieces as he had starting in 1962, Lichtenstein depicted the gestural expressions of the painting brushstroke itself. The works in this series are linked to those produced by artists who use the gestural painting style of abstract expressionism made famous by Jackson Pollock, but differ from them due to their mechanically produced appearance. The series is considered a satire or parody of gestural painting by both Lichtenstein and his critics. After 1966, Lichtenstein incorporated this series into later motifs and themes of his work.
Portrait of Madame Cézanne is a 1962 pop art painting by Roy Lichtenstein. It is a quotation of Erle Loran's diagram of one of Paul Cézanne's 27 portraits of his wife Marie-Hortense Fiquet, now in the Barnes Foundation, Philadelphia. It was one of the works exhibited at Lichtenstein's first solo exhibition in Los Angeles. The work became controversial in that it led to a reconsideration of what constitutes art.
Engagement Ring is a 1961 pop art painting by Roy Lichtenstein. The work is based on the Winnie Winkle series, but Lichtenstein changed both the graphical description and the narrative accompaniment that he presents in a speech balloon. As with most of his early romance comics works, this consisted of "a boy and a girl connected by romantic dialogue and action".
Golf Ball is a 1962 painting by Roy Lichtenstein. It is considered to fall within the art movement known as Pop art. It depicts "a single sphere with patterned, variously directional semi-circular grooves." The work is commonly associated with black-and-white Piet Mondrian works. It is one of the works that was presented at Lichtenstein's first solo exhibition and one that was critical to his early association with pop art. The work is commonly critiqued for its tension involving a three-dimensional representation in two dimensions with much discussion revolving around the choice of a background nearly without any perspective.
M-Maybe is a 1965 pop art painting by Roy Lichtenstein. It is one of his romance comics-based works.
Crying Girl is the name of two different works by Roy Lichtenstein: a 1963 offset lithograph on lightweight, off-white wove paper and a 1964 porcelain enamel on steel.
Okay Hot-Shot, Okay! is a 1963 pop art painting by Roy Lichtenstein that uses his Ben-Day dots style and a text balloon. It is one of several examples of military art that Lichtenstein created between 1962 and 1964, including several with aeronautical themes like this one. It was inspired by panels from four different comic books that provide the sources for the plane, the pilot, the text balloon and the graphic onomatopoeia, "VOOMP!".
Bratatat! is a 1963 pop art painting by Roy Lichtenstein in his comic book style of using Ben-Day dots and a text balloon.
Takka Takka is a 1962 pop art painting by Roy Lichtenstein in his comic book style of using Ben-Day dots and a story panel. This work is held in the collection of the Museum Ludwig. The title comes from the onomatopoeic graphics that depict the sound that comes from a machine gun.
Crak! is a 1963 pop art lithograph by Roy Lichtenstein in his comic book style of using Ben-Day dots and a text balloon. It was used in marketing materials for one of Lichtenstein's early shows. It is one of several of his works related to military art and monocular vision.