Oh, Jeff...I Love You, Too...But... (sometimes Oh, Jeff) is a 1964 oil and magna on canvas painting by Roy Lichtenstein. Like many of Lichtenstein's works, its title comes from the speech balloon in the painting.
Although many sources, such as the Encyclopedia of Art, describe Whaam! and Drowning Girl as Lichtenstein's most famous works,[1][2] artist Vian Shamounki Borchert believes it is this piece, calling it his Mona Lisa.[3] Borchert notes that this painting captures "the magic" of its "anguished and yes [sic] beautiful blue-eyed, blond hair, full lips" female subject while presenting "sad eyes that seem to give in to what seems to be a doomed love affair".[3]
Measuring 121.9cm × 121.9cm (48 in × 48 in), Oh, Jeff...I Love You, Too...But... is among the most famous of his early romance comic derivative works from the period when he was adapting cartoons and advertisements into his style via Ben-Day dots. The work is said to depict the classic romance comic storyline of temporary adversity.[4]
Lichtenstein adapted the work from a comic illustrated by Tony Abruzzo; the panel's actual text reads, "Oh, Danny, I'm so sorry! I would have loved to go but I'm going to another party that night!"[5] Lichtenstein's sketch for the work was done in graphite and colored pencils on paper in a 4 3/4 x 4 3/4inches (12.1 x 12.1cm) scale.[6]
In the early 1960s, Lichtenstein produced several "fantasy drama" paintings of women in love affairs with domineering men causing women to be miserable, such as Drowning Girl, Hopeless and In the Car. These works served as prelude to 1964 paintings of innocent "girls next door" in a variety of tenuous emotional states such as in Oh, Jeff...I Love You, Too...But....[7] Using only a single frame from its source, Oh, Jeff...I Love You, Too...But...'s graphics are quite indicative of frustration, but the text in the speech balloon augment the romantic context and the emotional discord.[8] After 1963, Lichtenstein's comics-based women "...look hard, crisp, brittle, and uniformly modish in appearance, as if they all came out of the same pot of makeup." This particular example is one of several that is cropped so closely that the hair flows beyond the edges of the canvas.[9] This was painted at the apex of Lichtenstein's use of enlarged dots, cropping and magnification of the original source.[10] The tragic situations of his subjects makes his works a popular draw at museums.[3]
Oh, Jeff was sold for $210,000 (US$777,000 in 2023 dollars[11]) on May 15, 1980, at Sotheby's, New York.[12] At the time, the work was part of the Abrams family collection.[13] As of February 3, 1994, the Los Angeles Times reported that it was part of the Stefan Edlis Collection.[14]
↑ Stokstad, Marilyn (1995). "Art in the United States And Europe since World War II". Art History. Prentice Hall, Inc. and Harry N. Abrams, Inc. p.1129. ISBN0-8109-1960-5. Oh, Jeff, for example, compresses into a single frame the generic romance-comic story line, in which two people fall in love, face some sort of crisis, or "but," that temporarily threatens their relationship, and then live happily ever after.
↑ Waldman, Diane (1993). Roy Lichtenstein. Solomon R. Guggenheim Museum. p.113. ISBN0-89207-108-7. In other paintings by Lichtenstein, women are engaged in a series of fantasy dramas. Hopeless (fig. 104), Drowning Girl (fig. 106), and In the Car (fig. 103), all from 1963, and We Rose Up Slowly (fig. 108), 1964, revolve around love affairs in which the men are clearly in control and the women are usually depicted as miserable. These paintings set the state for a series of "girls" in various states of apparent anxiety, nervousness, or fear, most of whom are portrayed as "the girl next door" or the innocent seductress, as in Blonde Waiting (fig. 112), Oh, Jeff...I Love You, Too...But... (fig. 111), Good Morning Darling, and Seductive Girl, all from 1964. The women protagonists in these dramas enact scenes filled with fabricated emotions.
↑ Coplans, John, ed. (1972). Roy Lichtenstein. Praeger Publishers. p.16. ...the inclusion of the encapsulated legend "Oh, Jeff, I love you too, but..." immediately throws the image into a romantic context of unrequited passion.
↑ Coplans, John, ed. (1972). "Introduction, Biographical Notes, Chronology of Imagery and Art". Roy Lichtenstein. Praeger Publishers. p.23. Very often a head is cropped to such an extent that the hair flows outside the borders of the format...
Roy Fox Lichtenstein was an American pop artist. During the 1960's, along with Andy Warhol, Jasper Johns, and James Rosenquist, 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. His artwork was considered to be "disruptive". 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.
Romance comics are a genre of comic books that were most popular during the Golden Age of Comics. The market for comics, which had been growing rapidly throughout the 1940s, began to plummet after the end of World War II when military contracts to provide disposable reading matter to servicemen ended. This left many comic creators seeking new markets. In 1947, part of an effort to tap into new adult audiences, the romance comic genre was created by Joe Simon and Jack Kirby with the Crestwood Publications title Young Romance.
Girls' Romances is a romance comic anthology published by DC Comics in the United States. Debuting with a Feb.,/Mar. 1950 cover-date, it ran for 160 issues, ending with the Oct. 1971 issue.
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.
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.
Torpedo...Los! is a 1963 pop art oil on canvas painting by Roy Lichtenstein. When it was last sold in 1989, The New York Times described the work as "a comic-strip image of sea warfare". It formerly held the record for the highest auction price for a Lichtenstein work. Its 1989 sale helped finance the construction of the current home of the Museum of Contemporary Art, Chicago in 1991.
Girl in Mirror is a 1964 porcelain-enamel-on-steel pop art painting by Roy Lichtenstein that is considered to exist in between eight and ten editions. One edition was part of a $14 million 2012 lawsuit regarding a 2009 sale, while another sold in 2010 for $4.9 million. Although it uses Ben-Day dots like many other Lichtenstein works, it was inspired by the New York City Subway rather than directly from a panel of a romance comics work.
Drowning Girl is a 1963 American painting in oil and synthetic polymer paint on canvas by Roy Lichtenstein, based on original art by Tony Abruzzo. The painting is considered among Lichtenstein's most significant works, perhaps on a par with his acclaimed 1963 diptych Whaam!. One of the most representative paintings of the pop art movement, Drowning Girl was acquired by the Museum of Modern Art in 1971.
I Know...Brad is a 1964 pop art painting by Roy Lichtenstein that uses his classic Ben-Day dots and a speech balloon. The work is located at the Ludwig Forum für Internationale Kunst in Aachen. It is an example of how Lichtenstein used his artistry to make significant changes to the original comics sources.
As I Opened Fire is a 1964 oil and magna on canvas painting by Roy Lichtenstein. The work is hosted at the Stedelijk Museum in Amsterdam. The source of the subject matter is Jerry Grandenetti's panels from "Wingmate of Doom," in All American Men of War, no. 90, DC Comics.
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".
M-Maybe is a 1965 pop art painting by Roy Lichtenstein. It is one of his romance comics-based works.
Sleeping Girl is a 1964 oil and Magna on canvas pop art painting by Roy Lichtenstein. It held the record for the highest auction price for a Lichtenstein painting from May 2012 until May 2013.
In the Car is a 1963 pop art painting by Roy Lichtenstein. The smaller, older of the two versions of this painting formerly held the record for highest auction price for a Lichtenstein painting. The larger version has been in the collection of the Scottish National Gallery of Modern Art in Edinburgh since 1980.
Happy Tears is a 1964 pop art painting by Roy Lichtenstein. It formerly held the record for highest auction price for a Lichtenstein painting.
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.
Hopeless is a 1963 painting with oil paint and acrylic paint on canvas by Roy Lichtenstein. The painting is in the collection of the Kunstmuseum Basel.
Masterpiece is a 1962 pop art painting by Roy Lichtenstein that uses his classic Ben-Day dots and narrative content contained within a speech balloon. In 2017, the painting sold for $165 million.
Secret Hearts was a romance comic anthology published by DC Comics in the United States, primarily in the 1950s and '60s. A staple of the company's romance line, it was "one of the publisher's most successful and well-known romance titles."
Anthony Joseph "Tony" Abruzzo (1916–1990) was an American comic book artist. He is best known for his work in the romance comics field for National Periodicals, particularly Girls' Love Stories, for which he illustrated stories continuously from 1954 to 1972. In the early 1960s, pop artist Roy Lichtenstein derived many of his best-known works from the panels of romance comics that had been illustrated by Abruzzo.
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