Roy Liechtenstein Pop Art Essays

Andy Warhol and Pop Art Essay

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Andy Warhol and Pop Art

All paintings are inspirational, but I chose to write about 3 specific paintings by 3 very different artists. The first of three artists is Andy Warhol and his “The Gun” painting, the second is Roy Lichtenstein and his “Girl with Ball” painting and the third is Robert Rauschenberg with his “Migration” painting. In the following report, you will read about the different styles of these artists, communicative theories, inner state theories, form and content, and how they compare and contrast among other subjects.

Some of the communicative theories produced by these pictures are very meaningful. “The Gun” shows us what Andy Warhol may have felt in his life at the time of the painting. Warhol sees his life…show more content…

I begin to appreciate my life a little more when I look at this painting. There seems to be a sense of lost time by looking at the clock with no hands. A moving cardboard box reminds me of something a homeless man would sleep in and the soiled shirt would be something a homeless person would wear. From this, I begin to appreciate my clean clothes and home. “Girl with Ball” gives me a feeling of being carefree. She seems to be having fun on the beach, enjoying the sun. This painting produces emotions that I value such as being carefree and having fun.

All three paintings are very different in their own way in regards to aesthetics. Warhol’s “The Gun” has few colors, but shows the gun slightly pointing inward towards the viewer. His use of the silk screen gave the picture imperfections, which make it unique. Lichtenstien’s “Girl with Ball” is one of the most unique forms of painting I have ever seen done. His use of Benday dots shows an image that looks to be done by machine. The lines are very distinct and the body of the subject is completely outlined in black giving an intense feeling. The spatial relationships in the painting bring us to focus on the face of the girl. “Migration” has no distinct lines, but with strategically placed items, he brings them all together with running paint into neighboring areas. The relationships of all the items and their spatial arrangement only give us more to work with in

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By the mid-sixties, Roy Lichtenstein and Andy Warhol had come to define a certain current of process-intensive, only superficially simple American visual art. Lichtenstein created his work using processes and materials developed for traditional commercial production; Warhol developed methods for producing his work as if they were traditional commercial products. This half-hour documentary captures both artists in 1966, discussing their methods in interviews and executing them in their studios. Lichtenstein speaks clearly and in great detail about how he finds the American landscape "made up of the desire to sell products," how he decided to portray in his paintings "an anti-sensibility that pervades the society" within a "structure of half-tone dots and flat printed areas," and his driving notion that "whatever approach one uses, he ought to go as far as he can with it, in order to make as much impact as possible."

Warhol, though, as journalists who encountered him will wincingly remember, wasn't much for interviews. Or rather, he granted interviews, but responded mostly in ways that reinforced his persona of unknowability — indeed, of containing nothing to be known. "Andy Warhol's reticence about himself masks a unique sensibility," reads the narrator. That's one way of putting it. Here he tells his interviewer, who maintains an admirable equanimity throughout, how nice it would be if he could just be told what sentences to answer with, and then repeat them. Yet behind his opaque-looking sunglasses and intercut with footage of his various projects, Warhol reveals things, and interesting ones, about the whats, hows, and whys of his grand enterprise. He even revealed a detail about his immediate plans to which audiences of 1966 would've done particularly well to pay attention: "We're sponsoring a new band. It's called the Velvet Underground."

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Colin Marshall hosts and produces Notebook on Cities and Culture. Follow him on Twitter at @colinmarshall.

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