'Whaam!', Roy Lichtenstein, 1963 | Tate Roy Lichtenstein Acrylic paint and oil paint on canvas Dimensions Support: 1727 x 4064 mm frame: 1747 x 4084 x 60 mm Collection Catalogue entry Display caption Whaam! is based on an image from All American Men of War published by DC comics in 1962. Throughout the 1960s, Lichtenstein frequently drew on commercial art sources such as comic images or advertisements, attracted by the way highly emotional subject matter could be depicted using detached techniques. Transferring this to a painting context, Lichtenstein could present powerfully charged scenes in an impersonal manner, leaving the viewer to decipher meanings for themselves. Gallery label, February 2016 T00897 Whaam! 1963 Inscribed on back of left-hand canvas 'rf Lichtenstein | '63' and 'LEFT | PANEL'; on back of right-hand canvas 'rf Lichtenstein | '63' and 'RIGHT | PANEL'; 'WHAAM!

| MAGNA & OIL' on both stretchers Magna acrylic and oil on canvas, 68 x 160 (172.7 x 406.4), (two canvases each 68 x 80 (172.7 x 203.2)) Purchased from Leo Castelli, Inc., New York, through the Galerie Ileana Sonnabend, Paris (Grant-in-Aid) 1966 Exh: Roy Lichtenstein, Leo Castelli, New York, September-October 1963 (no catalogue); Mixed Media and Pop Art, Albright-Knox Art Gallery, Buffalo, November-December 1963 (60); Salon de Mai, Musée d'Art Moderne de la Ville de Paris, May-June 1964 (102, repr.); Nieuwe Realisten, Gemeentemuseum, The Hague, June-August 1964 (95, repr.); POP etc., Museum des 20.

Jahrhunderts, Vienna, September-October 1964 (84, repr.); Neue Realisten und Pop Art, Akademie der Kunste, Berlin, November 1964-January 1965 (65); Pop Art, Nouveau Réalisme etc. ..., Palais des Beaux-Arts, Brussels, February-March 1965 (79); Roy Lichtenstein, Stedelijk Museum, Amsterdam, November-December 1967 (22, repr. in colour); Tate Gallery, January-February 1968 (21, repr. in colour); Kunsthalle, Bern, February-March 1968 (20, repr. in colour); Kestner-Gesellschaft, Hanover, April-May 1968 (20, repr. in colour); Roy Lichtenstein, Guggenheim Museum, New York, September-November 1969 (25, repr. in colour) Lit: Diane Waldman, Roy Lichtenstein (London 1971), pp.16-17, repr.

pl.72 in colour Repr: Aujourd'hui, No.49, April 1965, p.46; The Tate Gallery (London 1969), p.193 in colour The artist wrote (10 July 1967): 'I remember being concerned with the idea of doing two almost separate paintings having little hint of compositional connection, and each having slightly separate stylistic character. Of course there is the humorous connection of one panel shooting the other. I know that I got the idea of doing separate panels while working on Tex, so that Tex and Whaam are very closely related, and probably come from the same magazine - possibly from the same story. I think that the comic was "Armed Forces at War". I don't keep any records and I think I may have gotten the above information from your letter to me.

'Whaam relates in feeling to the many war paintings I did during 1962-63, including a five panel sequence entitled Live Ammo which has since unfortunately been resold and divided among four separate owners, the three paneled painting, As I Opened Fire, owned by the Stedelijk [Amsterdam] (which I think is the most recent war painting) and O.K. Hot Shot, owned by The Hague, as well as many smaller works. All of these portray emotionally charged subject matter as it might be reported in the dispassionate style of group decisions, as well as picturing modern methods of exporting economic and social philosophy.' 'Tex' (1962, oil on canvas , 157.5 x 203cm, collection E.J. Power, London) is reproduced in Waldman, op.cit., pl.23. Although a single-canvas painting, it too shows a much- foreshortened fighter plane entering from the (lower) left.

The plane has similar markings to its equivalent in 'Whaam!', and similarly a word-bubble emanates from the pilot, the path of a missile beneath its right wing is indicated by a trail of smoke, and a second plane disintegrates in an elaborate explosion to the (upper) right side of the painting. Several statements made by Lichtenstein on the ideas behind his work especially illuminate the significance of 'Whaam!'. In an interview with John Coplans in the catalogue of Roy Lichtenstein, Pasadena Art Museum, April-May 1967 (reprinted Artforum, May 1967, pp.34-9), he discusses his use of explosions and of popular/commercial idioms: he also states of the time when war imagery appeared in his work: 'At that time I was interested in anything I could use as a subject that was emotionally strong - usually love, war, or something that was highly-charged and emotional subject matter. Also, I wanted the subject matter to be opposite to the removed and deliberate painting techniques.

Cartooning itself usually consists of very highly-charged subject matter carried out in standard, obvious and removed techniques.' In an interview in the series 'What is Pop Art ?', in Art News, November 1963, pp.25, 62-3, he discusses the interplay in his paintings between apparent object directedness and actual ground-directedness, and also says: 'The heroes depicted in comic books are fascist types, but I don't take them seriously in these paintings - maybe there is a point in not taking them seriously, a political point. I use them for purely formal reasons, and that's not what those heroes were invented for ... Pop Art has very immediate and of-the-moment meanings which will vanish ... Pop takes advantage of this "meaning", which is not supposed to last, to divert you from its formal content. I think the formal statement in my work will become clearer in time.

Published in: Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.436-8, reproduced p.436 WHAAM by Roy Lichtenstein on artnet Auctions 1963 Screenprint, Color Poster Roy Lichtenstein was a prominent American pop artist, whose work reflected influence from popular advertising, culture, and the comic book. Lichtenstein often used cartoon images and techniques derived from the appearance of commercial printing in his works. The result, were paintings featuring thick outlines, bold colors, and Benday Dots (a technique often used in comic books), as if created by photographic reproduction. Though Lichtenstein often included the use of advertising imagery and reproductions of comic-book panels, his work was never an attempt to exactly copy.

Instead, Lichtenstein’s work tackled the way in which mass media portrays different aspects of popular culture by taking common place images and transforming them into “high art.” In 1996 the National Gallery of Art in Washington DC became the largest single repository of the artist's work when he donated 154 prints and 2 books. Ships From: New York, USA Shipping Dimensions: 25.25 x 29.62 in. (64.14 x 75.23 cm.) Whaam! | Military Wiki | Fandom powered by Wikia Tate Modern , London Whaam! is a diptych painted by American artist Roy Lichtenstein in 1963. One of the best-known works of pop art, it is 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. The left-hand panel of Whaam! shows a fighter plane firing a rocket.

The right-hand panel depicts the missile hitting its target, a second plane, which explodes into flames. Lichtenstein based the image on elements taken from several comic-book panels. He transformed his primary prototype, a panel from a 1962 war comic book , by dividing the composition into two panels and altering the relationship of the graphical and narrative elements. Whaam! is regarded for the temporal, spatial and psychological integration of its two panels, which Lichtenstein conceived as a contrasting pair. The painting's title is displayed in the large onomatopoeia in the right panel. Lichtenstein studied as an artist before and after serving in the United States Army during World War II . He practiced anti-aircraft drills during basic training, and he was sent for pilot training but the program was canceled before it started. Among the topics he tackled after the war were romance and war . He depicted aerial combat in several works. Whaam! is part of a series on war that he worked on between 1962 and 1964, and along with As I Opened Fire (1964) is one of his two large war-themed paintings.

Contents Edit In 1943 Lichtenstein left his study of painting and drawing at Ohio State University to serve in the U.S. Army, where he remained until January 1946. After entering training programs for languages, engineering, and piloting, all of which were canceled, he served as an orderly, draftsman and artist in noncombat roles. [1] [2] One of his duties at Camp Shelby was enlarging Bill Mauldin 's Stars and Stripes cartoons. [1] He was sent to Europe with an engineer battalion, but did not see active combat. [1] As a painter, he eventually settled on an abstract-expressionist style with parodist elements. [3] Around 1958 he began to incorporate hidden images of cartoon characters such as Mickey Mouse and Bugs Bunny into his abstract works. [4] By the late 1950s and early 1960s, the American art world had grown accustomed to and tired of the subjective angst and "hot" look of abstract expressionism .

[5] [6] A new generation of artists emerged with a more objective, "cool" approach characterized by the art movements known today as minimalism , [7] hard-edge painting , [8] color field painting, [9] the neo-Dada movement, [10] Fluxus , [11] and pop art, all of which re-defined the avant-garde contemporary art of the time. Pop art and neo-Dada re-introduced and changed the use of imagery by appropriating subject matter from commercial art, consumer objects, art history, and popular culture. [12] [13] Lichtenstein achieved international recognition during the 1960s as one of the initiators of the pop art movement in America. [14] Regarding his use of imagery MoMA curator Bernice Rose observed that Lichtenstein was interested in "challenging the notion of originality as it prevailed at that time." [15] Lichtenstein's early comics-based works such as Look Mickey focused on popular animated characters. By 1963 he had progressed to more serious, dramatic subject matter, typically focusing on romantic situations or war scenes.

[16] Comic books as a genre were held in low esteem at the time. Public antipathy led in 1954 to examination of alleged connections between comic books and youth crime during Senate investigations into juvenile delinquency ; [17] by the end of that decade, comic books were regarded as material of "the lowest commercial and intellectual kind", according to Mark Thistlethwaite of the Modern Art Museum of Fort Worth . [17] Lichtenstein was not a comic-book enthusiast as a youth, [18] but was enticed as an artist by the challenge of creating art based on a subject remote from the typical "artistic image". [19] Lichtenstein admitted he was "very excited about, and very interested in, the highly emotional content yet detached impersonal handling of love, hate, war, etc., in these cartoon images." [16] Lichtenstein's romance and war comic-based works took heroic subjects from small source panels and monumentalized them. [20] Whaam! is comparable in size to the generally large canvases painted at that time by the abstract expressionists.

[21] It is one of Lichtenstein's many works with an aeronautical theme. [22] He said that "the heroes depicted in comic books are fascist types, but I don't take them seriously in these paintings—maybe there is a point in not taking them seriously, a political point. I use them for purely formal reasons." [23] History Edit Whaam! adapts a panel by Irv Novick from the "Star Jockey" story from issue #89 of DC Comics' All-American Men of War (Feb. 1962). [24] [25] [26] The original forms part of a dream sequence in which fictional World War II P-51 Mustang pilot Johnny Flying Cloud, "the Navajo ace", foresees himself flying a jet fighter while shooting down other jet planes. [27] [28] In Lichtenstein's painting, both the attacking and target planes are replaced by different types of aircraft.

Paul Gravett suggests that Lichtenstein substituted the attacking plane with an aircraft from "Wingmate of Doom" illustrated by Jerry Grandenetti in the subsequent issue (#90, April 1962), [29] and that the target plane was borrowed from a Russ Heath drawing in the third panel of page 3 of the "Aces Wild" story in the same issue #89. [30] The painting also omits the speech bubble from the source in which the pilot exclaims "The enemy has become a flaming star!" [31] File:Roy Lichtenstein Whamm Original and Lichtenstein Derivative.gif A smaller, single-panel oil painting by Lichtenstein around the same time, Tex!, has a similar composition, with a plane at the lower left shooting an air-to-air missile at a second plane that is exploding in the upper right, with a word bubble. [32] The same issue of All-American Men of War was the inspiration for at least three other Lichtenstein paintings, Okay Hot-Shot, Okay! , Brattata and Blam , in addition to Whaam! and Tex! [33] The graphite pencil sketch, Jet Pilot was also from that issue.

[34] Several of Lichtenstein's other comics-based works are inspired by stories about Johnny Flying Cloud written by Robert Kanigher and illustrated by Novick, including Okay Hot-Shot, Okay!, Jet Pilot and Von Karp. [28] Lichtenstein repeatedly depicted aerial combat between the United States and the Soviet Union . [2] In the early and mid-1960s, he produced "explosion" sculptures, taking subjects such as the "catastrophic release of energy" from paintings such as Whaam! and depicting them in freestanding and relief forms. [35] In 1963, he was parodying a variety of artworks, from advertising and comics and to " high art " modern masterpieces by Cézanne , Mondrian , Picasso and others. At the time, Lichtenstein noted that "the things that I have apparently parodied I actually admire." [36] Lichtenstein's first solo exhibition was held at the Leo Castelli Gallery in New York City, from February 10 to March 3, 1962. It sold out before its opening.

[37] The exhibition included Look Mickey , [38] Engagement Ring , Blam and The Refrigerator. [39] According to the Lichtenstein Foundation website, Whaam! was part of Lichtenstein's second solo exhibition at the Leo Castelli Gallery from September 28 to October 24, 1963, that also included Drowning Girl , Baseball Manager , In the Car , Conversation, and Torpedo...Los! . [1] [37] Marketing materials for the show included the lithograph artwork, Crak! [40] [41] The Lichtenstein Foundation website says that Lichtenstein began using his opaque projector technique in 1962. [1] in 1967 he described his process for producing comics-based art as follows: I do them as directly as possible. If I am working from a cartoon, photograph or whatever, I draw a small picture—the size that will fit into my opaque projector ... I don't draw a picture in order to reproduce it—I do it in order to recompose it ... I go all the way from having my drawing almost like the original to making it up altogether.

[42] File:Whaam!'s substituted attack plane.jpg Whaam! was purchased by the Tate Gallery in 1966. [1] In 1969, Lichtenstein donated his initial graphite-on-paper drawing Drawing for 'Whaam!', describing it as a "pencil scribble". [43] According to the Tate, Lichtenstein claimed that this drawing represented his "first visualization of Whaam! and that it was executed just before he started the painting." [44] Although he had conceived of a unified work of art on a single canvas, he made the sketch on two sheets of paper of equal size—measuring 14.9 cm × 30.5 cm (5.9 in × 12.0 in). [44] The painting has been displayed at Tate Modern since 2006. [45] In 2012–13, both works were included in the largest Lichtenstein retrospective that visited the Art Institute of Chicago , the National Gallery of Art in Washington, D.C., the Tate Modern in London and the Centre Pompidou . [46] [47] Description Edit Whaam!

depicts a fighter aircraft in the left panel firing a rocket into an enemy plane in the right panel, which disintegrates in a vivid red-and-yellow explosion. The cartoon style is emphasized by the use of the onomatopoeic lettering "WHAAM!" in the right panel, and a yellow-boxed caption with black lettering at the top of the left panel. The textual exclamation "WHAAM!" can be considered the graphic equivalent of a sound effect . [48] This was to become a characteristic of his work—like others of his onomatopoeic paintings that contain exclamations such as Bratatat! and Varoom! . [49] Whaam! is one of Lichtenstein's series of war images, typically combining vibrant colors with an expressive narrative. [50] Whaam! is very large, measuring 1.7 m × 4.0 m (5 ft 7 in × 13 ft 4 in). [24] It is less abstract than As I Opened Fire, another of his war scenes.

[48] Lichtenstein employs his usual comic-book style: stereotyped imagery in bright primary colors with black outlines, coupled with imitations of mechanical printer's Ben-Day dots . [51] The use of these dots, which were invented by Benjamin Day to simulate color variations and shading, are considered Lichtenstein's "signature method". [52] Whaam! departs from Lichtenstein's earlier diptychs such as Step-on-Can with Leg and Like New, in that the panels are not two variations of the same image. [26] Cropped and edited portion of Drawing for 'Whaam!' (1963). Lichtenstein marked sections of "Drawing" with color notations for the final work, such as the "w" for white in the above titular letters. [43] Same portion of finished work, Whaam!, but the planned white letters were yellow, as rendered above. Although Lichtenstein strove to remain faithful to the source images, he constructed his paintings in a traditional manner, starting with a sketch which he adjusted to improve the composition and then projected on to a canvas to make the finished painting.

[53] In the case of Whaam!, the sketch is on two pieces of paper, and the finished work is painted with Magna acrylic and oil paint on canvas. [32] Although the transformation from a single-panel conception into a diptych painting occurred during the initial sketch, the final work varies from the sketch in several ways. The sketch suggests that the "WHAAM!" motif would be colored white, although it is yellow in the finished work. [43] [44] Lichtenstein enlarged the main graphical subject of each panel (the plane on the left and the flames on the right), bringing them closer together as a result. [44] Lichtenstein built up the image with multiple layers of paint. The paint was applied using a scrub brush and handmade metal screen to produce Ben-Day dots via a process that left physical evidence behind. [54] [55] The Ben-Day dots technique enabled Lichtenstein to give his works a mechanically reproduced feel. Lichtenstein said that the work is "supposed to look like a fake, and it achieves that, I think". [52] Lichtenstein split the composition into two panels to separate the action from its consequence.

[26] The left panel features the attacking plane—placed at a diagonal to create a sense of depth—below the text balloon, which Lichtenstein has relegated to the margin above the plane. [26] In the right panel, the exploding plane—depicted head-on—is outlined by the flames, accompanied by the bold exclamation "WHAAM!". [26] Although separate, with one panel containing the missile launch and the other its explosion, representing two distinct events, [56] the two panels are clearly linked spatially and temporally, not least by the horizontal smoke trail of the missile. [57] Lichtenstein commented on this piece in a July 10, 1967, letter: "I remember being concerned with the idea of doing two almost separate paintings having little hint of compositional connection, and each having slightly separate stylistic character. Of course there is the humorous connection of one panel shooting the other." [58] Lichtenstein altered the composition to make the image more compelling, by making the exploding plane more prominent compared to the attacking plane than in the original. [26] The smoke trail of the missile becomes a horizontal line.

The flames of the explosion dominate the right panel, [26] but the pilot and the airplane in the left panel are the narrative focus. [48] They exemplify Lichtenstein's painstaking detailing of physical features such as the aircraft's cockpit. [59] The other element of the narrative content is a text balloon that contains the following text: "I pressed the fire control ... and ahead of me rockets blazed through the sky ..." [54] This is among the text believed to have been written by All-American Men of War editor Robert Kanigher . [29] [60] [61] The yellow word "WHAAM!", altered from the red in the original comic-book panel and white in the pencil sketch, links the yellow of the explosion below it with the textbox to the left and the flames of the missile below the attacking plane. Lichtenstein's borrowings from comics mimicked their style while adapting their subject matter. [62] He explained that "Signs and comic strips are interesting as subject matter.

There are certain things that are usable, forceful and vital about commercial art." Rebecca Bengal at PBS wrote that Whaam!'s graphic clarity exemplifies the ligne claire style associated with Hergé , a cartoonist whose influence Lichtenstein acknowledged. [63] Lichtenstein was attracted to using a cool, formal style to depict emotive subjects, leaving the viewer to interpret the artist's intention. [53] He adopted a simplified color scheme and commercial printing-like techniques. The borrowed technique was "representing tonal variations with patterns of colored circles that imitated the half-tone screens of Ben Day dots used in newspaper printing, and surrounding these with black outlines similar to those used to conceal imperfections in cheap newsprint." [62] Lichtenstein once said of his technique: "I take a cliche and try to organize its forms to make it monumental." [54] Reception Edit The painting was, for the most part, well received by art critics when first exhibited. A November 1963 Art Magazine review by Donald Judd described Whaam! as one of the "broad and powerful paintings" of the 1963 exhibition at Castelli's Gallery.

[37] In his review of the exhibition, The New York Times art critic Brian O'Doherty described Lichtenstein's technique as "typewriter pointillism ... that laboriously hammers out such moments as a jet shooting down another jet with a big BLAM". According to O'Doherty, the result was "certainly not art, [but] time may make it so", depending on whether it could be "rationalized ... and placed in line for the future to assimilate as history, which it shows every sign of doing." [64] The Tate Gallery in London acquired the work in 1966, leading to heated argument amongst their trustees and some vocal members of the public. The purchase was made from art dealer Ileana Sonnabend , whose asking price of £4,665 (£77,610 in 2017 currency) was reduced by negotiation to £3,940 (£65,548 in 2017 currency). [65] Some Tate trustees opposed the acquisition, among them sculptor Barbara Hepworth , painter Andrew Forge and the poet and critic Herbert Read .

[65] Defending the acquisition, art historian Richard Morphet, then an assistant keeper at the Tate, suggested that the painting addresses several issues and painterly styles at the same time: "history painting, Baroque extravagance, and the quotidian phenomenon of mass-circulation comic strips." [66] The Times in 1967 described the acquisition as a "very large and spectacular painting". [67] The Tate's director, Norman Reid , later said that the work aroused more public interest than any of its acquisitions since World War II. [68] In 1968, Whaam! was included in the Tate's first solo exhibition of Lichtenstein's work. [68] The showing attracted 52,000 visitors, and was organized with the Stedelijk Museum in Amsterdam, [65] which later hosted the exhibition from November 4 to December 17, 1967, before it traveled to three other museums. [1] Analysis and interpretation Edit For José Pierre, Whaam! represents Lichtenstein's 1963 expansion "into the 'epic' vein".

[69] Keith Roberts, in a 1968 Burlington Magazine article, described the explosion as combining "art nouveau elegance with a nervous energy reminiscent of Abstract Expressionism". [70] Wendy Steiner believes the work is Lichtenstein's most successful and harmonious comic-based composition. She sees the narrative and graphic elements as complementary: the action and spatial alignment lead the viewer's eye from left to right so as to emphasize the relationship between the action and its explosive consequence. The ellipses of the text balloon present a progression which culminates with a "WHAAM!". The "coincidence of pictorial and verbal order" are clear for the Western viewer with the explanatory text beginning in the upper left and action vector moving from the left foreground to the right background, culminating in a graphical explosion in tandem with a narrative exclamation. [71] Steiner says the striking incongruity of the two panels—the left panel appearing to be "truncated", while the right depicts a centralized explosion—enhances the work's narrative power. [71] File:Drawing for Whaam!.jpg Lichtenstein's technique has been characterized by Ernst A. Busche as "the enlargement and unification of his source material ...

on the basis of strict artistic principles". [62] Extracted from a larger narrative, the resulting stylized image became in some cases a "virtual abstraction". By recreating their minimalistic graphic techniques, Lichtenstein reinforced the artificial nature of comic strips and advertisements. Lichtenstein's magnification of his source material made his impersonally drawn motifs seem all the more empty. Busche also says that although a critique of modern industrial America may be read into these images, Lichtenstein "would appear to accept the environment as revealed by his reference material as part of American capitalist industrial culture". [62] David McCarthy contrasted Lichtenstein's "dispassionate, detached and oddly disembodied" presentation of aerial combat with the work of H.C. Westermann , for whom the experience of military service in World War II instilled a need to horrify and shock. In contrast, Lichtenstein registers his "comment on American civilization" by scaling up inches-high comic book images to the oversized dimensions of history painting . [2] Laura Brandon saw an attempt to convey "the trivialization of culture endemic in contemporary American life" by depicting a shocking scene of combat as a banal Cold War act.

[72] Carol Strickland and John Boswell say that by magnifying the comic book panels to an enormous size with dots, "Lichtenstein slapped the viewer in the face with their triviality." [51] H. H. Arnason noted that Whaam! presents "limited, flat colors and hard, precise drawing," which produce "a hard-edge subject painting that documents while it gently parodies the familiar hero images of modern America." [73] The flat and highly finished style of planned brushstrokes can be seen as pop art's reaction against the looseness of abstract expressionism. [74] Alastair Sooke says that the work can be interpreted as a symbolic self-portrait in which the pilot in the left panel represents Lichtenstein "vanquishing his competitors in a dramatic art-world dogfight" by firing a missile at the colorful "parody of abstract painting" in the right panel. [66] According to Ernesto Priego, while the work adapts a comic-book source, the painting is neither a comic nor a comics panel, and "its meaning is solely referential and post hoc." It directs the attention of its audience to features such as genre and printing methods.

Visually and narratively, the original panel was the climactic element of a dynamic page composition. Lichtenstein emphasizes the onomatopoeia while playing down articulated speech by removing the speech balloon. According to Priego, "by stripping the comics panel from its narrative context, Whaam! is representative in the realm of fine art of the preference of the image-icon over image-narrative". [61] Whaam! is sometimes said to belong to the same anti-war genre as Picasso's Guernica , a suggestion dismissed by Bradford R. Collins. Instead, Collins views the painting as a revenge fantasy against Lichtenstein's first wife Isabel, conceived as it was during their bitter divorce battle (the couple separated in 1961 and divorced in 1965). [75] Legacy Edit Marla F. Prather observed that Whaam!'s grand scale and dramatic depiction contributed to its position as a historic work of pop art. [74] With As I Opened Fire , Lichtenstein's other monumental war painting, Whaam! is regarded as the culmination of Lichtenstein's dramatic war-comics works, according to Diane Waldman.

[76] It is widely described as either Lichtenstein's most famous work, [77] [78] [79] or, along with Drowning Girl, as one of his two most famous works. [80] [81] Andrew Edgar and Peter Sedgwick describe it, along with Warhol's Marilyn Monroe prints, as one of the most famous works of pop art. [82] Gianni Versace once linked the two iconic pop art images via his gown designs. [83] According to Douglas Coupland , the World Book Encyclopedia used pictures of Warhol's Monroes and Whaam! to illustrate its Pop art entry. [84] File:Gibbons after Novick.jpg Comic books were in turn affected by the cultural impact of pop art. By the mid-1960s, some comic books were displaying a new emphasis on garish colors, emphatic sound effects and stilted dialogue—the elements of comic book style that had come to be regarded as camp —in an attempt to appeal to older, college-age readers who appreciated pop art.

[85] Gravett observed that the "simplicity and outdatedness [of comic books] were ripe for being mocked". [29] Whaam! was one of the key works exhibited in a major Lichtenstein retrospective in 2012–2013 that was designed, according to Li-mei Hoang, to demonstrate "the importance of Lichtenstein's influence, his engagement with art history and his enduring legacy as an artist". [86] In his review of the Lichtenstein Retrospective at the Tate Modern , Adrian Searle of The Guardian—who was generally unenthusiastic about Lichtenstein's work—credited the work's title with accurately describing its graphic content: "Whaam! goes the painting, as the rocket hits, and the enemy fighter explodes in a livid, comic-book roar." [87] Daily Telegraph critic Alastair Smart wrote a disparaging review in which he acknowledged Lichtenstein's reputation as a leading figure in "Pop Art's cheeky assault on the swaggering, self-important Abstract Expressionists", whose works Smart said Whaam! mimicked by its huge scale.

Smart said the work was neither a positive commentary on the fighting American spirit nor a critique, but was notable for marking "Lichtenstein's incendiary impact on the US art scene". [21] Critics have raised concerns over Lichtenstein's appropriation , in that he directly references imagery from other sources [88] in Whaam! and other works of the period. [29] Some have denigrated it as mere copying, to which others have countered that Lichtenstein altered his sources in significant, creative ways. [66] In response to claims of plagiarism, the Roy Lichtenstein Foundation has noted that publishers have never sued for copyright infringement , and that they never raised the issue when Lichtenstein's comics-derived work first gained attention in the 1960s. [89] Other criticism centers on Lichtenstein's failure to credit the original artists of his sources; [66] [90] [91] Ernesto Priego implicates National Periodicals in the case of Whaam!, as the artists were never credited in the original comic books.

[61] In Alastair Sooke 's 2013 BBC Four documentary that took place in front of Whaam! at the Tate Modern, British comic book artist Dave Gibbons disputed Sooke's assertion that Lichtenstein's painting improved upon Novick's panel, saying: "This to me looks flat and abstracted, to the point of view that to my eyes it's confusing. Whereas the original has got a three-dimensional quality to it, it's got a spontaneity to it, it's got an excitement to it, and a way of involving the viewer that this one lacks." [29] Gibbons has parodied Lichtenstein's derivation of the Novick work. [29] [92] Notes Roy Lichtenstein Poster | eBay Roy Lichtenstein Poster Artist - Roy Lichtenstein. Title - Drowning Girl. Fine Art Print on High Quality Paper. Condition - Mint / New. Condition: or Best Offer Free Shipping Artist: Roy Lichtenstein. Title: Seductive Girl. Year: 2007. Medium: Offset Lithograph. Condition: B: Very Good Condition, with signs of handling or age. Framed: No.

or Best Offer Free Shipping or Best Offer Free Shipping Corlett cat. no. 111.25. Artist: Roy Lichtenstein. Title: Guggenheim Museum. Medium: Serigraph. Year: 1969. Condition: A-: Near Mint, very light signs of handling. Framed: No. or Best Offer Free Shipping Artist: Roy Lichtenstein. Medium: Serigraph. Remade in 1997 for an exhibition held at the National gallery in Washington. Title: The Oval Office. SOLD AS IS. Price Reflects Condition. | 1 sold Referenced in Corlett no. II.2.C, Bianchini (1971) cat. no. 5, Zerner (1974) cat. no. 7. Named for its onomatopoeic graphic text, Lichtenstein�s �Crak! Lichtenstein recomposed the comic book source � ... Free Shipping 2 watching or Best Offer Free Shipping Artist: Roy Lichtenstein. Medium: Serigraph. Title: Sweet Dreams Baby. This is a rare reproduction of the piece that is now out of print. Year: 1982.

Condition: B: Very Good Condition, with signs of h... | 2 sold Artist: Roy Lichtenstein. Title: Drowning Girl. Medium: Serigraph. Year: 1989. Much heavier printing than second edition currently sold, stronger colors. Small tears around the border of the image. Co... or Best Offer Free Shipping Title: Whaam B. Artist: Roy Lichtenstein. Second Edition. Published by The Tate Gallery London. Edition size is unknown. Year: 2007. Framed: No. or Best Offer Free Shipping Ohhh.Alright. 1964 by Roy Lichtenstein. Custom Framing Available. Your print or ours! Check-Out Now! Quality Frames and Premium Glass are Standard. or Best Offer Free Shipping Title: Whaam B. Artist: Roy Lichtenstein. Second Edition. Published by The Tate Gallery London. Right panel. Year: 2007. Framed: No. or Best Offer Free Shipping Artist: Roy Lichtenstein. Title: Water Lilies with Japanese Bridge. Medium: Offset Lithograph. Year: 2007. Framed: No. Buy It Now or Best Offer Ohhh.Alright.

1964 by Roy Lichtenstein. Custom Framing Available. Your print or ours! Our prints our high quality prints. The Picture Peddler. $82.00 Buy It Now Roy Lichtenstein is considered one of the most influential artists of the Pop Art movement. Condition: Near excellent. Size:30" x 20" (76.2 x 50.8 cm). 1000+ images about Roy Lichtenstein Whaam on Pinterest | Pablo picasso, Pop art and Studios Roy Lichtenstein: Modern Art Poster Year: 1967 Medium: Screenprint on smooth, ivory wove paper Dimensions (metric): 20.3 x 27.8 cm See More Whaam!, 1963 - Roy Lichtenstein - WikiArt.org Roy Lichtenstein it is a historically significant artwork the image is only being used for informational and educational purposes the image is readily available on the internet the image is a low resolution copy of the original artwork and is unsuitable for commercial use More … WikiArt.org allows unlimited copying, distributing and displaying of the images of public domain artworks solely.

We use here Copyright term based on authors' deaths according to U.S. Copyright Law, that is 70 years. In other countries, the duration of copyright term may differ. Please check here copyright length according to your country's legislation before you consider reproducing images borrowed from Wikipaintings.org Artworks protected by copyright are supposed to be used only for contemplation. Images of that type of artworks are prohibited for copying, printing, or any kind of reproducing and communicating to public since these activities may be considered copyright infringement. Roy Lichtenstein Roy Lichtenstein Whaam Canvas Signed Oil Painting Hand-Painted NOT Print Poster | eBay Have one to sell? Sell now Details about Roy Lichtenstein Whaam Canvas Signed Oil Painting Hand-Painted NOT Print Poster Roy Lichtenstein Whaam Canvas Signed Oil Painting Hand-Painted NOT Print Poster portraitp has no other items for sale.

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To increase your chances of winning, try raising your bid. You're the first bidder. Good Luck! You're still the highest bidder! You increased your max bid to Please enter your bid again. Enter a valid amount for your bid. Enter a bid that is the minimum bid amount or higher. You have to bid at least Sorry, you can't lower your maximum bid once it's placed. This seller requires the buyer to have a PayPal account to purchase this item. Get a PayPal account here . Your bid is the same as or more than the Buy It Now price.You can save time and money by buying it now. Place bid Review and confirm your bid Bid confirmation Enter a custom max bid more than ##2## Enter a custom max bid of ##2## or more + ##2## approximate import charges Please enter a higher amount than the current bid. + ##2## for shipping 'Whaam!', Roy Lichtenstein, 1963 | Tate Roy Lichtenstein Acrylic paint and oil paint on canvas Dimensions Support: 1727 x 4064 mm frame: 1747 x 4084 x 60 mm Collection Catalogue entry Display caption Whaam!

is based on an image from All American Men of War published by DC comics in 1962. Throughout the 1960s, Lichtenstein frequently drew on commercial art sources such as comic images or advertisements, attracted by the way highly emotional subject matter could be depicted using detached techniques. Transferring this to a painting context, Lichtenstein could present powerfully charged scenes in an impersonal manner, leaving the viewer to decipher meanings for themselves. Gallery label, February 2016 T00897 Whaam! 1963 Inscribed on back of left-hand canvas 'rf Lichtenstein | '63' and 'LEFT | PANEL'; on back of right-hand canvas 'rf Lichtenstein | '63' and 'RIGHT | PANEL'; 'WHAAM!

| MAGNA & OIL' on both stretchers Magna acrylic and oil on canvas, 68 x 160 (172.7 x 406.4), (two canvases each 68 x 80 (172.7 x 203.2)) Purchased from Leo Castelli, Inc., New York, through the Galerie Ileana Sonnabend, Paris (Grant-in-Aid) 1966 Exh: Roy Lichtenstein, Leo Castelli, New York, September-October 1963 (no catalogue); Mixed Media and Pop Art, Albright-Knox Art Gallery, Buffalo, November-December 1963 (60); Salon de Mai, Musée d'Art Moderne de la Ville de Paris, May-June 1964 (102, repr.); Nieuwe Realisten, Gemeentemuseum, The Hague, June-August 1964 (95, repr.); POP etc., Museum des 20.

Jahrhunderts, Vienna, September-October 1964 (84, repr.); Neue Realisten und Pop Art, Akademie der Kunste, Berlin, November 1964-January 1965 (65); Pop Art, Nouveau Réalisme etc. ..., Palais des Beaux-Arts, Brussels, February-March 1965 (79); Roy Lichtenstein, Stedelijk Museum, Amsterdam, November-December 1967 (22, repr. in colour); Tate Gallery, January-February 1968 (21, repr. in colour); Kunsthalle, Bern, February-March 1968 (20, repr. in colour); Kestner-Gesellschaft, Hanover, April-May 1968 (20, repr. in colour); Roy Lichtenstein, Guggenheim Museum, New York, September-November 1969 (25, repr. in colour) Lit: Diane Waldman, Roy Lichtenstein (London 1971), pp.16-17, repr.

pl.72 in colour Repr: Aujourd'hui, No.49, April 1965, p.46; The Tate Gallery (London 1969), p.193 in colour The artist wrote (10 July 1967): 'I remember being concerned with the idea of doing two almost separate paintings having little hint of compositional connection, and each having slightly separate stylistic character. Of course there is the humorous connection of one panel shooting the other. I know that I got the idea of doing separate panels while working on Tex, so that Tex and Whaam are very closely related, and probably come from the same magazine - possibly from the same story. I think that the comic was "Armed Forces at War". I don't keep any records and I think I may have gotten the above information from your letter to me.

'Whaam relates in feeling to the many war paintings I did during 1962-63, including a five panel sequence entitled Live Ammo which has since unfortunately been resold and divided among four separate owners, the three paneled painting, As I Opened Fire, owned by the Stedelijk [Amsterdam] (which I think is the most recent war painting) and O.K. Hot Shot, owned by The Hague, as well as many smaller works. All of these portray emotionally charged subject matter as it might be reported in the dispassionate style of group decisions, as well as picturing modern methods of exporting economic and social philosophy.' 'Tex' (1962, oil on canvas , 157.5 x 203cm, collection E.J. Power, London) is reproduced in Waldman, op.cit., pl.23. Although a single-canvas painting, it too shows a much- foreshortened fighter plane entering from the (lower) left.

The plane has similar markings to its equivalent in 'Whaam!', and similarly a word-bubble emanates from the pilot, the path of a missile beneath its right wing is indicated by a trail of smoke, and a second plane disintegrates in an elaborate explosion to the (upper) right side of the painting. Several statements made by Lichtenstein on the ideas behind his work especially illuminate the significance of 'Whaam!'. In an interview with John Coplans in the catalogue of Roy Lichtenstein, Pasadena Art Museum, April-May 1967 (reprinted Artforum, May 1967, pp.34-9), he discusses his use of explosions and of popular/commercial idioms: he also states of the time when war imagery appeared in his work: 'At that time I was interested in anything I could use as a subject that was emotionally strong - usually love, war, or something that was highly-charged and emotional subject matter. Also, I wanted the subject matter to be opposite to the removed and deliberate painting techniques.

Cartooning itself usually consists of very highly-charged subject matter carried out in standard, obvious and removed techniques.' In an interview in the series 'What is Pop Art ?', in Art News, November 1963, pp.25, 62-3, he discusses the interplay in his paintings between apparent object directedness and actual ground-directedness, and also says: 'The heroes depicted in comic books are fascist types, but I don't take them seriously in these paintings - maybe there is a point in not taking them seriously, a political point. I use them for purely formal reasons, and that's not what those heroes were invented for ... Pop Art has very immediate and of-the-moment meanings which will vanish ... Pop takes advantage of this "meaning", which is not supposed to last, to divert you from its formal content. I think the formal statement in my work will become clearer in time.

Published in: Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.436-8, reproduced p.436 Pop Art: 8 artists every designer should know | Creative Bloq Pop Art: 8 artists every designer should know Pop Art: 8 artists every designer should know They challenged the traditions of fine art by incorporating imagery of popular culture. We showcase the most influential artists of the Pop Art movement. Shares Pop Art was a visual art movement that emerged during the mid 1950s. A sign of the times, the style focused on mass production, celebrity and the expanding industries of advertising, TV, radio and print media – shaping a new cultural identity in the field of art and design. Characterised by brash, bold, colourful and humorous artwork, Pop Art incorporated many design elements, including different styles of painting, sculpture, collage and street art . Here, we celebrate eight of the leading artists of that era... 01.

Keith Haring Keith Harring gained international success during the 80s Born and raised in Pennsylvania, Keith Harring began creating pop art after leaving college in 1978. Between 1980 and 1989, Harring reached international recognition through independent and collaborative exhibitions. Sadly passing away in February of 1990, Harring's works are still considered some of the most influential in the pop art world. 02. Claes Oldenburg & Coosje van Bruggen This duo brough pop art to the masses Claes Oldenburg & Coosje van Bruggenare well known for bringing pop art to the masses, by enlarging every day objects and placing them on top of buildings and in the middle of parks, the team "We want to communicate with the public but on our own terms, even if the images are stereotypical," Oldenburg explains. "Our dialogue, which leads to the definition of a project, may take place anywhere, but we usually make decisions in our studio where we are surrounded by objects, models, notes, and drawings from the recent past and present, stimulated, whenever possible, by recollected observations of a site." 03.

Robert Raucshenberg Robert Rauschenberg was awarded the National Medal of Arts in 1993 Robert Rauschenberg is well-known for his 'Combines' collages of the 1950s, in which non-traditional materials and objects were employed in innovative combinations. Rauschenberg was both a painter and a sculptor and the Combines are often a combination of both. Working with photography, printmaking and performance, Rauschenberg was even awarded the National Medal of Arts in 1993. Sadly, he passed away in 2008. 04. Richard Hamilton Hamilton created this pop art collage 'Just what is it that make's today's homes so different, so appealing?' for the Tomorrow exhibition in 1956 Regarded by many as the father of British pop art, Richard Hamilton created a series of renowned works during the 1950s and 60s.

Probably his most famous is his 1956 collage, 'Just what is it that makes today's homes so different, so appealing?' Created for This Is Tomorrow exhibition of the Independent Group in London, it's the ultimate catalogue of pop art imagery, including reference to newspapers, comics, advertising, applicances, food, packaging, television and the movies. 05. Roy Lichtenstein Whaam!, one of the famous examples of pop art, was based on an image from DC Comics' All American Men of War Based on an image from 1962 issue of DC Comics’ All-American Men of War, Pop Artist Roy Lichtenstein's Whaam! (1963) is widely regarded as his most important and influential piece. The vibrant. diptych image depicts a fighter aircraft firing a rocket, with a red-and-yellow explosion in the background. Born in 1923 in New York, Lichtenstein became a leading figure in the Pop art movement, his paintings of comic strip cartoons, washing machines and baked potatoes now considered classics of that era. 06.

Peter Blake Peter Blake combined pop culture and fine art in this On the Balcony painting On the Balcony is an iconic piece of British Pop Art. At first glance it looks like a collage but is, in fact, a painting, beautifully composed by Peter Blake - one of the most famous British Pop Artists of the 1950s. A pioneer of Pop Art, Blake's paintings often incorporated imagery from advertisements and collaged elements. This On the Balcony piece, in particular, showcases the interest he had in combining pop culture with fine art. 07. Andy Warhol Pop Art supremo Andy Warhol created these images of Marilyn Monroe in 1962 Andy Warhol is probably the best known figure in the Pop Art movement. It was in the early 1960s that he began to experiment with reproductions based on mass-produced images from popular culture such as Campbell's soup tins and Coca Cola bottles. In 1962, four months after the death of Marilyn Monroe, Warhol created several mass-produced images of the actress, all based on the same publicity photograph from the 1953 film Niagra.

Arguably his most famous artwork, the repetition of the image was representative of her presence in the media. The diptych print featured the portraits in vibrant colours and fading black and white, symbolising her the cult of a celebrity and her death. He went on to give a similar treatment to celebrities such as Jackie Kennedy and Elvis Presley. 08. David Hockney David Hockney's style quickly gained him reputation of leading light in the Pop Art movement British artist David Hockney is most often associated with sun-drenched landscape paintings, which he created while living and working in LA from 1963 to 2005. His early work, which featured a some what humorous mood, vivid colour and made use of magazine-style images, quickly gained him a reputation of leading practitioner of Pop Art. Developing his style, in the 1980s Hockey began to produce photocollages, initially of Polaroid prints and later of 35mm colour prints. Still working today, Hockney's diverse skills include printmaking, painting, drawing, filmmaking, and theater design. Topics

Question: Which artist created Whaam in 1963?
Answer: ROY LICHTENSTEIN