RB: Well, that's interesting.
RB: You would have changed schools, or hadn't you started to school before you moved there? RL: I think I got out of the army in February—wait a minute—I got out in January of '46. Except that student of mine—I don't want to take credit for it—Tom Doyle, the sculptor was a student of mine at Ohio State. You know that you paint thick on thin or, you know, slower drying materials over quick drying material so it won't crack, but they didn't care much if it cracked or not and I don't either.
RL: Yes. Carolyn Lanchner, Roy Lichtenstein (New York: The Museum of Modern Art, 2009), 5.
RL: It's the same shape. RL: Well, there's just eyes looking out at the lower part of the canvas, and the upper part is the lettering that you described in a balloon. His work defined the premise of pop art through parody.
RL: Where scientists would be immediately called out and so as a matter of fact, chemists and so forth probably were exempt from the army. RL: Yes.
RL: Yes. I liked swimming and boating most, and baseball least, and crafts somewhat, tennis a little bit. It features his classic combination of bold lines and colors, all of them applied in the form of dots.eval(ez_write_tag([[300,250],'publicdelivery_org-box-4','ezslot_4',118,'0','0'])); The painting features a central female figure. I had heard some German around, but I never learned German. RB: Please try a little harder to reconstruct the actual physical and artistic nature of that first environment, what it had in the way of beauty, or ugliness, from the age of two to six and so on, what sort of things your eyes looked at, is what I'm interested to find out.
The ideas of Professor Hoyt Sherman [at Ohio State University] on perception were my earliest important influence and still affect my ideas of visual unity.
It looked very official—I'm sure everyone knew it was faked but the officers had to carry out their end of it by saying it was not permissible and everybody had to go through with the act. Almost—I don't know if it's really true, but it seems that you almost have to come from this loose background in order to do it because you don't get the chance in a more classical, tighter art to feel in this ground directed way. RB: Could we consider one or two sculptors now as examples of these? I wanted to bring out the fact that this is really between November of 1961 and the present, your personal fame has greatly increased, and the fame of this type of art has expanded because very little of it existed, I think in the United States in November 1961. Graham Bader, 36. RB: I'm thinking that they would like, perhaps, to have a wider regional spread. RB: It's very clever of you to forget the name of the colonel.
RB: How would you evaluate the experience?
I mean the idea of having bullets there, of course, was contributed by the original cartoonist and you took it over at perfect liberty to change their position of course, but there's a very notable improvement in their position. Since our last meeting I find in the studio of Mr. Lichtenstein five paintings more or less brought to completion whereas on my first coming here there were about six or seven canvases on easels all with just the outlines of future paintings.
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How important is the humor in relation to your work, do you think?
RB: You probably looked fairly young for your age, did you? We drew still lifes and we used watercolor or some opaque watercolor.
I know that when I used to try to overhear people speaking I couldn't understand anything going on, but I could understand the lectures very well.
RL: Actually, not at that time.
For some reason or other the ones that were closest to me—I think they all lived within a block of me—and it just happened that that was a neighborhood—. RL: In the last painting the background is light blue and in the cartoon it's actually deeper.
It is now considered the industry standard for artists, museums and galleries throughout the world. This leaves the question open, doesn't it? RB: Yes. If your maximum RL: It has some relationship in that it refers to the biggest aspect of the painting, the existence of the entire surface, but—. This tension between apparent object-directed products and actual ground-directed processes is an important strength of Pop art.
It gets adjusted so that we're fairly close to one another. RB: You must have been only about 14 or 15? Rosenblum says, "Lichtenstein explores the mass-produced images of the crassest commercial illustration.
It must have been very undelightful and unexciting. We grant you a personal, non-exclusive, non-transferable license to access the Site and to use the information and services contained here. Therefore I'm puzzled that you can't remember, but they may all look alike more or less. Sellers are solely responsible for descriptions of goods and all other content provided to Artspace by seller. Was this a camp that obliged you to write home every day or week—all that sort of—, RL: Oh yes. There was always someone who was considered a buffoon or something. RB: Was he a salesman in his real estate business? Please note that if the auction moves to a physical live event (the auction page will specify this and the bidder will be noticed as such by email), the highest bidder after the close of the online auction will be the opening bid at the event and will be notified within 48 hours after the event if the bid is the final winning bid or been outbid by someone at the event. Was it to you? RB: Yes, it's not an enigmatic or romantic painting, is it? RB: Well, actually the economy must have been very active at this time. RB: You did? I think it was intended to impress upon the German people the enormity of their crime in the treatment of the Jews and other people and not to treat them as human equals.
In fact, we really didn't know till we got there where we were going. And I was kind of amused, that, you know, you had to take tests to get into the program in the first place and I did them in languages and having achieved that, and that program closing, they immediately put us in engineering, for which we had no ability. We may list open employment positions on this web site. RL: I guess the tests themselves lasted for about a week. Roy Lichtenstein, quoted in John Coplans, “Interview: Roy Lichtenstein” (1970), in Roy Lichtenstein, ed.
But it is—it makes it interesting torealize, if you're remembering accurately, that you were so apart from a tremendous traumatic experience the civilized world was engaged in at that time in your life. RL: Maybe they don't. No. I'm not sure that one couldn't start this way, but it would seem to me better to start in a way that was looser, and I'm sure that what I'm saying really isn't true in the light of history because I can think of the early Renaissance School in which one artist learned from another and there was very tight painting all the way along really, so I'm sure that it is possible to learn about art doing it in a very strict and tight way too. Most of New York school buildings, the old buildings, have very similar architecture. I felt that I would never be allowed to have a car anyway, I mean I didn't want my father to buy a car for me. RB: I see, yes. RB: Then you take the paper off and then you have those clean surfaces and clean area? RB: It may be interesting in your psychology of choosing the subject and being interested to do it. RL: Well, it seemed that they'd been there for ages.
I imagine that you would have a certain ability you were born with that would allow you to be able to pursue it, otherwise you'd have no chance. RB: I was looking at that catalogue, it was all in French so I didn't read it as carefully, because I was searching for a suitable quotation to recite here you see, and I didn't want to do it in French but I thought there was a piece by Juquois. In some of the Ivy League colleges I've always had the impression, I think it was true at Yale too, that this is a sort of social prestige. RL: Well, since I decided to use it, I've noticed that quite a few artists have been using it. RB: Did you form any personal views as to the balance of influence between environment and heredity in the development of the individual? RL: No. Richard Hamilton, “Roy Lichtenstein,” Studio International (January 1968): 23. RB: A Realist painting, you mean?
And in the summer we would go to Massachusetts a lot, Lake Buell it was called at that time, and my grandmother, I remember, would—she used to be in the kitchen all day long and, you know, cook constantly and eat nothing and—. This is something I'd like to ask you. There was at Camp Hulen there was a, oh, a fellow who—oh, many people had read quite extensively and they might have been teaching or they might have been preparing for teaching in college and so forth, so you got—there were quite a number of college-educated people.
RB: Still, if you were only 17, it seems to me you probably were better off having some sort of environment to be part of whether it was a good environment, RL: Well, I was better off but whether to be sheltered is good or not good—. I got in and I got a lot of credits added to my record from these various things that I had, you see, and although I only had two and a half years up to then, and then only had one semester I did graduate. RL: Yes.
If you think of the converging lines as a rooftop that you're looking at head on, a slanted roof then it has no depth. Yes.
Happy Tears surpassed Kiss II in 2002. Did you enjoy her practicing, or did it irritate you? RL: I went but I was actually afraid to go in. So the kind of intense fraternity activity was just my freshman year and part of my sophomore year, and from then on I drifted away from it anyway. They would all be different.
It was all done in the classroom. I don't think I read them very much though, as a matter of fact.
I had just come out of the army as a matter of fact.
RL: Yes. Is that—?
RL: I didn't see any, as a matter of fact.
RB: How were you on going to the Art Institute on Chicago to look at works of art?
It was created in Paris, wasn't it, in connection with the civil war? RB: You were just as happy going out with a girl that evening as having a wound in a Normandy trench. I don't know too much about it. Of course, it fits in very neatly with inexpensive reproduction, printing reproduction processes, so that the two might go hand in hand. Roy Lichtenstein attended classes at the Parsons School of Design and Art Students League before enrolling in the Fine Arts program at Ohio State in 1940.
Format: The remastered reels were used for digitization.
It included physics, the physical sciences, biological sciences. Now what exactly he meant by you were trying to do, I don't know. I imagine they were awful. RB: You don't remember the people there?
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RB: But it adds visually a great deal to the picture indeed. RL: And it relates to the kind of art very well, too, I think.
RL: New York has a kind of system though—. RB: Did you select particular ones or did you just do everyone that came along? RB: Did your friends though largely come to be those in the art studio field or more the ones in your fraternity?
RB: Well, every effort was being made at that time to compensate you veterans for the loss of your time.