# Talk:Artist's Studio—Look Mickey

I think there are too many quotes in the footnotes, amounting to copyvio. For example

from Bader, ed
"I did a series of four large, about 8' x10', paintings of interiors of artists' studios. They were inspired by Matisse's paintings..."
"I like the idea of including in my paintings renditions of earlier paintings of mine because they are really identical or could be identical with the original paintings. In other words this Look Mickey is no different from my original Look Mickey. Most painters, when they depict their own earlier works in their new paintings, as Matisse did, minimize the clarity of these depicted works through modulation (which is read as atmosphere) and simplification to give you a sense that you are at a distance from the work. By painting these paintings within paintings just the way they were painted originally, there's no apparent difference between the painting in the room and the painting itself, and that is something that interests me."
"...the first of Lichtenstein's Artist's Studio paintings, of 1973, is presided over by none other than the Donald Duck of Look Mickey, which the artist has carefully cropped to exclude all of Donald's more famous partner save for his hand, fishing pole, and foot. In thus positioning his image within an image, Lichtenstein both situates Donald as the primary figure in his 'artist's studio,' and presents an interior composed of earlier Lichtenstein works as the explicict object of the duck's (narcissistic) gaze—just as was Donald for Lichtenstein himself in making his 1973 image. In cropping out all of Mickey but his hand, foot, and pole, furthermore, Lichtensteinfocuses his viewers' attention on these elements' place in the reflection on artistic production that Artist's Studio presents—and, by extension, on their metaphorical place in the story of painting's origin (as well as Lichtenstein's own) provided by Look Mickey twelve years before."
from Hendrickson, Janis (1993)
"A series of Artists' Studios touches upon individual works and generic groups of Lichtenstein's paintings which had been executed since 1961. The name Studios is fairly misleading, since no paint brushes or easels appear in the closed rooms shown."
"For someone familiar with the artist's oeuvre, the Studios could become mental playgrounds." (in article)
"...in Artist's Studio, Look Mickey (Ill. p. 63) (1073) the couch, the door, the wall frieze, the telephone and the fruit on the floor have freed themselves from various works of Lichtenstein and assembled in an interior decorator's context. Other paintings are actually shown as paintings. Look Mickey, (Ill. p. 11) Lichtenstein's first comic painting, is the most well-known of the artist's works in this Studio. The mirror of the trompe l'oeuil pointing posing as the rear side of a canvas are also recognizable as existing Lichtenstein works. Two other paintings were experiments in form: the gull and dune landscape over the door became an actual painting only a year later, while the text balloon image about the baldheaded guy never escaped the Look Mickey Studio...For someone familiar with the artist's oeuvre, the Studios could become mental playgrounds."
from Cowart
Lichtenstein produced five large-scale studio interior paintings in 1973–74, which were extensions of a preceding group of 1972–73 still lifes that had included renderings of his paintings. But in the later works his explicit reference converns Matisse's four so-called Symphonic Interiors of 1911 (The Pink Studio, The Painter's Family, Interior with Eggplants, The Red Studio} and one earlier Matisse, Still Life with the "Dance," 1909. Compositionally, Lichtenstein's Artist's Studio, Look Mickey, 1973, is the only one of these paintings that shows a room corner as in his Bathroom, 1961, and Matisse's The Red Studio."
from Lebensztejn (in article body)
"I like the combination of a very separate quality that each of my paintings has within the painting, and the fact that everything works as one painting too."
A couple of years ago I started some paintings that had my own paintings in them, and which were similar to the Matisse studios. There was one difference that I think shows up mostly in the Look Mickey: When I reproduce one of my own paintings in my painting, it's different from Matisse reproducing one of his paintings in his painting, because even though in both paintings the depicted painting is submerged for the good of the whole work, it's much more so in Matisse. I wanted my paintings to read as individual paintings with the work, so that there would be some confusion. There’s no remove in my work, no modulation or subtlety of line, so the painting-of-a-painting looks exactly like the painting it's of. This is not true, of course, of many early—including Renaissance— depictions of paintings on walls, where there’s always a remove indicated through modulation, or some other way of showing that the depicted painting is not pasted on the picture or something like that.
from Alloway
"...Artist's Studio, Look Mickey (1973), refers to a painting of Lichtenstein's own, one of the earliest in the comics style. Repeating Look Mickey in the context of an ideal studio makes a point: Lichtenstein is saying that public taste has validated his use of popular culture as a direct source of imagery."
from Waldman, Diane
"Perhaps the most significant aspect of the work is its retrospective nature and the decision by the artist to reflect on his life, past and present." (in the article)
"In 1974, Lichtenstein began a series of studio interiors based on paintings by Matisse. In Artist's Studio #1 (Look Mickey), 1973, Lichtenstein adopted the configuration of the room in Matisse's The Red Studio, 1911, replacing the vase of nasturtiums with the pewter jug and the ivy from other paintings by Matisse and including a selection of his own paintings: a portion of Look Mickey, 1961, two panels from one of his Mirror paintings, a Stretcher Frame painting, and a new landscape image that he decided to make into a full-size work the following year. Various images taken from earlier drawings or paintings - a telephone, set on top of one of Matisse's sculpture stands, a door, a couch, an arrangement of fruit - made their way into the canvas. In addition to borrowing images from other paintings by Matisse, he included the central image from Fernand Léger's The Baluster, 1925. The novel touch was his personal reference to an artist who was one of his closest friends."
"In 1974, Lichtenstein began a series of studio interiors based on paintings by Matisse. In Artist's Studio #1 (Look Mickey), 1973, Lichtenstein adopted the configuration of the room in Matisse's The Red Studio, 1911, replacing the vase of nasturtiums with the pewter jug and the ivy from other paintings by Matisse and including a selection of his own paintings: a portion of Look Mickey, 1961, two panels from one of his Mirror paintings, a Stretcher Frame painting, and a new landscape image that he decided to make into a full-size work the following year. Various images taken from earlier drawings or paintings - a telephone, set on top of one of Matisse's sculpture stands, a door, a couch, an arrangement of fruit - made their way into the canvas. In addition to borrowing images from other paintings by Matisse, he included the central image from Fernand Léger's The Baluster, 1925. The novel touch was his personal reference to an artist who was one of his closest friends."
"Artist's Studio No. 1 (look Mickey) (fig. 171), 1973, is loosely based on Matisse' The Red Studio. Lichtenstein adopted of the room, replaced the vase of nasturtiums with the pewter jug and ivy from other paintings by Matisse, and included a selection of his own paintings:...He also incorporated his own early image of a telephone (depicting it atop one of Matisse's sculpture stands) and numerous references to other images—a door, a couch, an arrangement of fruit, and an entablature—taken from earlier drawings of paintings. In aaddition to borrowing images from other paintings by Matisse, such as The Pewter Jug, ca. 1917, he included the central image from Léger's The Baluster (fig. 174), 1925."
Waldman 1993 is also quoted extensively in other, related articles, e.g. Yellow and Green Brushstrokes, Girl with Ball, Whaam!, Bedroom at Arles, Girl in Mirror, Golf Ball, Little Big Painting, Drowning Girl, Bedroom at Arles, As I Opened Fire, As I Opened Fire and others. Several authors are repeatedly quoted in the series of article on works by Lichtenstein, including Lawrence Alloway, Janis  Hendrickson, and others.  MathewTownsend (talk) 18:21, 21 July 2012 (UTC)