Ohhh…Alright evokes emotions and fire the imagination.

Ohhh…Alright painting is
one of the many work created by Roy Lichtenstein’s After 1963 using comics’
images which was originally published by Arleigh Publishing Corp, (now part of
D.C. Comics).  Using a limited palette of
primary colours that appear innocent in concept yet portray an element of
sexual attraction that somehow is confused with her distressed look. Using
black paint as a contour to define the voluptuous red lips, almond shape blue eyes,
tiny nose and floating hair red almost caught in an act of surprise, on a
background of yellow that somehow is insignificant and draws the viewer
straight into her emotional state.

She frowns in an attempt to depict her anxious state,
clutching the receiver, she offers many interpretations, but what comes to mind
is that of a woman almost
desperate and entirely detached from the conversation.

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Ohhh…Alright…is suggestive, sensual and reflect a
woman who’s
vulnerable, almost tearful but also composed, and in control of her emotions.

Lichtenstein method is typical of several
paintings where they seem to continue beyond the edges the canvas, given the
impression that woman are yet to be liberated. Lichtenstein choice of colours
and flat surfaces clearly is drawn from the work of famous modernist Dutch
artist Piet Mondrian. The points (or dots) although are magnified and cropped
from the original work, using a variety of stencil techniques, are an
interpretation of the Impressionist style and Monet in particular.

An image, with coldness and simplicity evokes
emotions and fire the imagination. Abstracts artists would have possibly
founded it upsetting as they saw their whole world of anguish vanish with this
work of irony and witty yet beautifully executed.

The use of comics appealed to Lichtenstein,
although he was not a fan he could never go back to the previous form of art of
his early career. However he continues to interpret the work of Picasso and
Matisse applying mechanical precision, to transform current commercial images
into art. He treated his work more as marks than a subject and viewed it upside
down and reflected in mirrors, almost to eliminate any excess or doubling of.
He thrived on contradiction and transformed his original sources of
inspiration. He believed that the position of lines is important rather than
the character of it.   His approach to
work was joyful and playful, and by 1964 and despite the controversy about pop
art, Lichtenstein has established himself as one of the most iconic pop artist.


While Liechtenstein painted the world as a comic
strip, he imitated the technique of mass production in the same way as
mechanical reproduction has imitated the techniques of artists.