拍品專文
Lichtenstein's still-life paintings from the 1970s are considerably different from those of a decade earlier. Gone is the single image isolated against a solid color or field of benday dots. "In his paintings from the 1970s, Lichtenstein turned his attention to the idea of traditional still-life painting and explored a new range of subjects" (D. Waldman, Roy Lichtenstein, New York 1993, p. 207).
Images derived from other artists were frequently used in Lichtenstein's 1970s still-lifes. During this decade his paintings were filled with images from Matisse, Legér, Gris and Magritte. His works also had strong references to the nineteenth century American trompe l'oeil artists such as William M. Harnett and John F. Peto, through his use of the wood grain pattern. "The wood grain pattern represents not only an art historical reference to the nineteenth century and twentieth century trompe l'oeil but also a new way for Lichtenstein to treat the surface of his canvases" (ibid., p. 225).
Along with the faux bois, or wood grain, Lichtenstein also uses a pattern of bold parallel black and white lines in a horizontal configuration in his 1970s still-lifes. "They represent a departure for Lichtenstein from the look of newspaper reproduction that had become an inherent part of his signature style over the last decade, and accompanied a change in direction in his choice of subject matter; away from the mass-produced objects to embrace more traditional themes" (ibid., p. 213).
In appropriating the Cubist style, Lichtenstein "...wanted these paintings to look like reproductions of Cubist works but also to be read as Lichtensteins. To this end, he dissected his images and recomposed them, creating his own variation of Synthetic Cubism...the imagery is less important than the idiom that he was trying to recreate" (ibid., p. 225).
In his still-lifes of the 1970s, Lichtenstein created his own updated version of the historically significant modern movement, Cubism.
Images derived from other artists were frequently used in Lichtenstein's 1970s still-lifes. During this decade his paintings were filled with images from Matisse, Legér, Gris and Magritte. His works also had strong references to the nineteenth century American trompe l'oeil artists such as William M. Harnett and John F. Peto, through his use of the wood grain pattern. "The wood grain pattern represents not only an art historical reference to the nineteenth century and twentieth century trompe l'oeil but also a new way for Lichtenstein to treat the surface of his canvases" (ibid., p. 225).
Along with the faux bois, or wood grain, Lichtenstein also uses a pattern of bold parallel black and white lines in a horizontal configuration in his 1970s still-lifes. "They represent a departure for Lichtenstein from the look of newspaper reproduction that had become an inherent part of his signature style over the last decade, and accompanied a change in direction in his choice of subject matter; away from the mass-produced objects to embrace more traditional themes" (ibid., p. 213).
In appropriating the Cubist style, Lichtenstein "...wanted these paintings to look like reproductions of Cubist works but also to be read as Lichtensteins. To this end, he dissected his images and recomposed them, creating his own variation of Synthetic Cubism...the imagery is less important than the idiom that he was trying to recreate" (ibid., p. 225).
In his still-lifes of the 1970s, Lichtenstein created his own updated version of the historically significant modern movement, Cubism.