Whaam!
Whaam! | |
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Artist | Roy Lichtenstein |
Year | 1963 |
Medium | Magna acrylic and oil on canvas |
Movement | Pop art |
Dimensions | 172.7 cm × 406.4 cm (68.0 in × 160.0 in) |
Location | Tate Modern, London |
Whaam! is a 1963
The left-hand panel shows a fighter plane firing a rocket that, in the right-hand panel, hits a second plane which explodes in flames. Lichtenstein adapted the image from several
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.
Background
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.[2][3] One of his duties at Camp Shelby was enlarging Bill Mauldin's Stars and Stripes cartoons.[2] He was sent to Europe with an engineer battalion, but did not see active combat.[2] As a painter, he eventually settled on an abstract-expressionist style with parodist elements.[4] Around 1958 he began to incorporate hidden images of cartoon characters such as Mickey Mouse and Bugs Bunny into his abstract works.[5]
A new generation of artists emerged in the late 1950s and early 1960s with a more objective, "cool" approach characterized by the
![](http://upload.wikimedia.org/wikipedia/commons/thumb/4/4f/Roy_Lichtenstein.jpg/170px-Roy_Lichtenstein.jpg)
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.[15] 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;[16] 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.[16] Lichtenstein was not a comic-book enthusiast as a youth,[17] but was enticed as an artist by the challenge of creating art based on a subject remote from the typical "artistic image".[18] 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."[15]
Lichtenstein's romance and war comic-based works took heroic subjects from small source panels and monumentalized them.[19] Whaam! is comparable in size to the generally large canvases painted at that time by the abstract expressionists.[20] It is one of Lichtenstein's many works with an aeronautical theme.[21] 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."[22]
History
Whaam! adapts a panel by
![](http://upload.wikimedia.org/wikipedia/en/thumb/b/b8/Roy_Lichtenstein_Whamm_Original_and_Lichtenstein_Derivative.gif/400px-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
Lichtenstein repeatedly depicted aerial combat between the United States and the Soviet Union.[3] 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.[34] 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."[35]
Lichtenstein's first solo exhibition was held at the
The Lichtenstein Foundation website says that Lichtenstein began using his opaque projector technique in 1962.[2] 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.[41]
![](http://upload.wikimedia.org/wikipedia/en/thumb/e/e1/Whaam%21%27s_substituted_attack_plane.jpg/220px-Whaam%21%27s_substituted_attack_plane.jpg)
Whaam! was purchased by the
Description
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.[46] This was to become a characteristic of his work—like others of his onomatopoeic paintings that contain exclamations such as Bratatat! and Varoom![47]
Whaam! is one of Lichtenstein's series of war images, typically combining vibrant colors with an expressive narrative.
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.[51] 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.[31] 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.[42][43] 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.[43]
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.[52][53] 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".[50]
Lichtenstein split the composition into two panels to separate the action from its consequence.[25] 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.[25] In the right panel, the exploding plane—depicted head-on—is outlined by the flames, accompanied by the bold exclamation "WHAAM!".[25] Although separate, with one panel containing the missile launch and the other its explosion, representing two distinct events,[54] the two panels are clearly linked spatially and temporally, not least by the horizontal smoke trail of the missile.[55] Lichtenstein commented on this piece in a 10 July 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."[56]
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.[25] The smoke trail of the missile becomes a horizontal line. The flames of the explosion dominate the right panel,[25] but the pilot and the airplane in the left panel are the narrative focus.[46] They exemplify Lichtenstein's painstaking detailing of physical features such as the aircraft's cockpit.[57] 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 ..."[52] This is among the text believed to have been written by All-American Men of War editor Robert Kanigher.[28][58][59] 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.[60] 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.[61] Lichtenstein was attracted to using a cool, formal style to depict emotive subjects, leaving the viewer to interpret the artist's intention.[51] 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."[60] Lichtenstein once said of his technique: "I take a cliche and try to organize its forms to make it monumental."[52]
Reception
The painting was, for the most part, well received by art critics when first exhibited. A November 1963 Art Magazine review by
In 1968, Whaam! was included in the Tate's first solo exhibition of Lichtenstein's work.
Analysis and interpretation
For José Pierre, Whaam! represents Lichtenstein's 1963 expansion "into the 'epic' vein".
![](http://upload.wikimedia.org/wikipedia/en/thumb/0/02/Drawing_for_Whaam%21.jpg/400px-Drawing_for_Whaam%21.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".[60] 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".[60]
David McCarthy contrasted Lichtenstein's "dispassionate, detached and oddly disembodied" presentation of aerial combat with the work of
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."[49] 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."[71] The flat and highly finished style of planned brushstrokes can be seen as pop art's reaction against the looseness of abstract expressionism.[72] 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.[64]
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
Whaam! is sometimes said to belong to the same anti-war genre as Picasso's
Legacy
Marla F. Prather observed that Whaam!'s grand scale and dramatic depiction contributed to its position as a historic work of pop art.[72] 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.[74] It is widely described as either Lichtenstein's most famous work,[75][76][77] or, along with Drowning Girl, as one of his two most famous works.[78][79] Andrew Edgar and Peter Sedgwick describe it, along with Warhol's Marilyn Monroe prints, as one of the most famous works of pop art.[80] Gianni Versace once linked the two iconic pop art images via his gown designs.[81] According to Douglas Coupland, the World Book Encyclopedia used pictures of Warhol's Monroes and Whaam! to illustrate its Pop art entry.[82]
![](http://upload.wikimedia.org/wikipedia/en/thumb/a/a7/Gibbons_after_Novick.jpg/400px-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.[83] Gravett observed that the "simplicity and outdatedness [of comic books] were ripe for being mocked".[28]
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".[84] 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."[85] 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".[20]
Detractors have raised concerns over Lichtenstein's appropriation, in that he directly references imagery from other sources[86] in Whaam! and other works of the period.[28] Some have denigrated it as mere copying, to which others have countered that Lichtenstein altered his sources in significant, creative ways.[64] 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.[87] Other criticism centers on Lichtenstein's failure to credit the original artists of his sources;[64][88][89] Ernesto Priego implicates National Periodicals in the case of Whaam!, as the artists were never credited in the original comic books.[59]
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."[28] Gibbons has parodied Lichtenstein's derivation of the Novick work.[28][90]
See also
Notes
- ^ How Lichtenstein's "Whaam!" Became a Monumental Symbol of Pop Art - Sotheby's on YouTube
- ^ a b c d e f g "Chronology". Lichtenstein Foundation. Archived from the original on 6 June 2013. Retrieved 9 June 2013.
- ^ ISBN 978-0-87413-871-9.
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- ^ Wolf, Justin. "Minimalism". The Art Story Foundation. Archived from the original on 27 April 2019. Retrieved 17 August 2013.
- ^ Wolf, Justin. "Hard-Edge Painting". The Art Story Foundation. Archived from the original on 3 October 2013. Retrieved 17 August 2013.
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- ^ "Art Terms: Fluxus". [Museum of Modern Art. Archived from the original on 8 May 2015. Retrieved 17 August 2013.
- ^ Wolf, Justin. "Pop art". The Art Story Foundation. Archived from the original on 6 July 2013. Retrieved 17 August 2013.
- ^ "Appropriation/Pop Art". Museum of Modern Art. Archived from the original on 11 April 2021. Retrieved 6 September 2013.
- ISBN 978-0-8135-3738-2. Archivedfrom the original on 14 December 2016. Retrieved 15 July 2016.
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- ^ ISBN 978-0-87070-770-4. Archivedfrom the original on 26 November 2013. Retrieved 29 October 2020.
- ^ a b Thistlethwaite, Mark. "Mr. Bellamy". Modern Art Museum of Fort Worth. Archived from the original on 17 May 2013. Retrieved 15 July 2013.
- ^ Brown, Mark (18 February 2013). "Roy Lichtenstein outgrew term pop art, says widow prior to Tate show". The Guardian. Archived from the original on 23 April 2017. Retrieved 15 June 2013.
- ^ Clark, Nick (18 February 2013). "Whaam! artist Roy Lichtenstein was 'not a fan of comics and cartoons'". The Independent. Archived from the original on 2 July 2017. Retrieved 15 June 2013.
- ISBN 978-3-8228-5907-0. Archivedfrom the original on 19 October 2021. Retrieved 29 October 2020.
- ^ a b Smart, Alastair (23 February 2013). "Lichtenstein, at Tate Modern, review". The Daily Telegraph. Archived from the original on 28 May 2017. Retrieved 15 June 2013.
- ISBN 978-0-472-06833-3.
- ISBN 978-0-253-20627-5. Archivedfrom the original on 19 October 2021. Retrieved 29 October 2020.
- ^ a b Lichtenstein, Roy. "Whaam!". Tate Collection. Archived from the original on 10 September 2008. Retrieved 26 June 2013.
- ^ "1960s: Whaam!". Lichtenstein Foundation. Archived from the original on 24 December 2015. Retrieved 23 May 2012.
- ^ a b c d e f g Waldman 1993, p. 104.
- ^ Bacon, James (13 May 2013). "Comics and art – James talks to Rian Hughes about Image Duplicator". Forbidden Planet. Archived from the original on 4 July 2013. Retrieved 19 July 2013.
- ^ a b "Character Sketch: The Comic That Inspired Roy Lichtenstein". Yale University Press. Archived from the original on 24 June 2013. Retrieved 23 June 2013.
- ^ a b c d e f g Gravett, Paul (17 March 2013). "The Principality of Lichtenstein: From 'WHAAM!' to 'WHAAT?'". PaulGravett.com. Archived from the original on 27 August 2018. Retrieved 30 June 2013.
- ^ "Russ Heath's Comic About Being Ripped off by Lichtenstein". 7 November 2014. Archived from the original on 18 September 2020. Retrieved 28 September 2020.
- ^ Cumming, Laura (29 February 2004). "Whaam! but no Oomph!". The Guardian. Archived from the original on 4 March 2016. Retrieved 5 August 2013.
- ^ a b "Catalogue entry". Tate Gallery. Archived from the original on 2 October 2013. Retrieved 19 July 2013.
- JSTOR 4381129.
- ^ "Jet Pilot". Lichtenstein Foundation. Archived from the original on 10 November 2014. Retrieved 24 June 2013.
- ^ Alloway 1983, p. 56.
- ^ "Christie's to offer a Pop Art masterpiece: Roy Lichtenstein's Woman with Flowered Hat". ArtDaily. Archived from the original on 19 October 2021. Retrieved 7 June 2013.
- ^ a b c Judd 2009, pp. 2–4.
- ISBN 978-0-87846-744-0.
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- ^ "Search Result: CRAK!". Lichtenstein Foundation. Archived from the original on 12 March 2016. Retrieved 26 June 2013.
- ^ Lobel 2009, pp. 118–120.
- ISBN 978-0-300-08762-8.
- ^ a b c "Roy Lichtenstein: Drawing for 'Whaam!' 1963". Tate Gallery. Archived from the original on 2 October 2013. Retrieved 18 July 2013.
- ^ ISBN 978-0-85667-102-9. as cited in "Roy Lichtenstein: Drawing for 'Whaam!' 1963". Tate.org. Archivedfrom the original on 2 October 2013. Retrieved 11 August 2013.
- ^ "Tate Modern opens first major rehang of its Collection with the support of UBS" (Press release). Tate Gallery. 22 May 2006. Archived from the original on 2 October 2013. Retrieved 19 July 2013.
- The Huffington Post. 22 May 2012. Archivedfrom the original on 8 June 2012. Retrieved 8 June 2013.
- ^ a b c Waldman 1993, p. 105.
- ^ "The Report: Mr Roy Lichtenstein". MrPorter.com. 12 February 2013. Archived from the original on 29 June 2013. Retrieved 23 June 2013.
- ^ Alloway 1983, p. 20.
- ^ ISBN 978-0-7407-6872-9. Archivedfrom the original on 19 October 2021. Retrieved 29 October 2020.
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- ^ ISBN 978-0-295-97039-4.
- ^ a b c Monroe, Robert (29 September 1997). "Pop Art pioneer Roy Lichtenstein dead at 73". Associated Press. Archived from the original on 2 October 2013. Retrieved 15 June 2013.
- ^ Dunne, Nathan (13 May 2013). "WOW!, Lichtenstein: A Retrospective at Tate Modern II". Tate Etc. (27). Archived from the original on 25 June 2013. Retrieved 19 July 2013.
- ISBN 978-0-500-20351-4.
- ^ Coplans 1972, p. 39: "... Whaam I (1963), on the other hand, is a diptych with a clearly linked pictorial narrative ..."
- ^ Coplans 1972, p. 164.
- ^ Lobel 2009, pp. 123–124.
- ^ Gravett, Paul (31 May 2002). "Robert Kanigher: The man who put Sergeant Rock in a hard place". The Guardian. Archived from the original on 14 March 2016. Retrieved 28 July 2013.
- ^ a b c Priego, Ernesto (4 April 2011). "Whaam! Becoming a Flaming Star". The Comics Grid, Journal of Comics Scholarship. Archived from the original on 2 October 2013. Retrieved 28 July 2013.
- ^ ISBN 978-0-19-533579-8. Archivedfrom the original on 19 October 2021. Retrieved 29 October 2020.
- ^ Bengal, Rebecca (11 July 2006). "Essay: Tintin in America". PBS. Archived from the original on 2 October 2013. Retrieved 19 June 2013.
- ^ O'Doherty, Brian (27 October 1963). "Lichtenstein: doubtful but definite triumph of the banal". The New York Times. p. 21, section 2.
- ^ a b c Bailey, Martin (13 February 2013). "Who opposed a £4,665 Lichtenstein?". The Art Newspaper. Archived from the original on 24 February 2015. Retrieved 19 February 2013.
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- ^ "Spectacular piece of Pop art". The Times. No. 56829. 3 January 1967. p. 6, col E.
- ^ a b Holden, Duncan (18 February 2013). "Work of the Week: Whaam! by Roy Lichtenstein". Tate Gallery. Archived from the original on 22 July 2013. Retrieved 19 July 2013.
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- ISBN 978-0-307-40652-1.
He translated one of Roy Lichtenstein's most famous paintings by putting giant letters spelling "WHAAM!" on a yellow clevore evening gown. He adorned a silk halter-neck gown with Andy Warhol's celebrated images of Marilyn Monroe ...
- ^ Teachout, Terry (6 August 2003). "Andy Warhol: 15 Minutes And Counting". The Wall Street Journal. Archived from the original on 13 March 2016. Retrieved 9 August 2013.
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- ^ "Pop Art". Museum of Modern Art. Archived from the original on 11 April 2021. Retrieved 9 August 2013.
- ^ Borrelli, Christopher (11 May 2012). "Connecting the dots on Roy Lichtenstein retrospective at Art Institute: Is appropriation the sincerest form of flattery?". Chicago Tribune. Archived from the original on 2 October 2013. Retrieved 1 August 2013.
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References
- Alloway, Lawrence (1983). Roy Lichtenstein. Abbeville Press. ISBN 978-0-89659-331-2.
- Bader, Graham, ed. (2009). Roy Lichtenstein: October Files. MIT Press. ISBN 978-0-262-01258-4.
- Judd, Donald. "Reviews 1962–64". In Bader (2009).
- Lobel, Michael. "Technology Envisioned: Lichtenstein's Monocularity". In Bader (2009).
- Coplans, John, ed. (1972). Roy Lichtenstein. Praeger Publishers. ISBN 978-0-7139-0761-2.
- Waldman, Diane (1993). "War Comics, 1962–64". Roy Lichtenstein. Solomon R. Guggenheim Museum, Museum of Contemporary Art (Los Angeles, Calif.), Montreal Museum of Fine Arts. Solomon R. Guggenheim Museum. ISBN 978-0-89207-108-1.