Roy Lichtenstein’s Oh, Jeff…I Love You, Too…But is just one of his most famous paintings, and some also dare to call it the most well known painting the has ever made. This piece depicts a teenage girl ~ above the phone with her boyfriend Jeff as their relationship shows up to be intimidated by some exterior force. Lichtenstein came up with the topic of this painting and also many the his other paintings through copying and also distorting solitary panels native comic books. This step in specific is taken indigenous the DC Comic’s girls Romances and an enig Hearts series. The fact that Lichtenstein blatantly duplicated comic strips was a large drawback because that viewers and also is quiet a nuisance come this day. Although some world say that his work-related plagiarizes the comic publication artists, many …show an ext content… whatever from the outlines to the composition itself is drastically altered to produce a an ext aesthetically pleasing painting. His usage of bold colors, special outlines, and also “benday dots offered in commercial printing imitate the character of cartoons,” (Stokstad 1095). The in its entirety thickness that the lines renders the picture seem very flat and cartoon like, but the variance that the line load does include some dimension. The usage of this thick black outlines tells the viewer the this is not claimed to be realistic even though the painting is life size. Every single line is in ~ a diagonal, which create a feeling of movement and also direction. The implied line of the woman’s eyesight is at a diagonal line down in the direction of the bottom left corner. Even the letters in the message bubble are comprised of diagonal line lines i beg your pardon give an ext emotion come them, together if they space leaning on her lips in hesitation. Lichtenstein’s composition likewise adds to the emotion of the piece. In bespeak to adjust the paint from the source image, Lichtenstein cropped and also zoomed in ~ above the image. Once looking at the initial comic strip, the viewer have the right to see the distinct changes made in the final painting. The woman’s human body runs off every corner, making her seem larger than life. Also the word bubble overlaps the composition and also the woman herself. The photo now reads together if it to be a scene from a romantic movie instead of a still dashboard from a …show an ext content… In the mid-1950’s, right after world War II, Britain and also American artists started creating art based on material culture such as movies, television, advertisements, and even comic books. This overlap the art and also life had actually never been seen prior to “except perhaps partially in the decadent official exuberance that the twenties” (Osterwold 6). With culture watching so very closely at this brand-new artistic phenomena, it’s no wonder countless of this artists got backlash for their work. Roy Lichtenstein to be no exemption to this criticism. Many human being see Lichtenstein’s more recent paintings as mere copies of the original occupational themselves, however this is proven to be untrue. Lichtenstein chooses specific comics that display a certain archetypical layout or motif so that when he removes a component from the whole, “the scene he is depicting a brand-new and quite unfamiliar meaning” (Osterwold 184). In Oh, Jeff…I Love You, Too…But, Lichtenstein “ and also the source image to emphasis on far-ranging emotions” in order to emphasize the too many melodramatic scene and also turn it into a job-related of arts (Stokstad 1094). In a way, the step is practically ironic in its display of these extreme emotions v the use of simple colors and shapes.


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Lichtenstein go this ~ above purpose, in order to discuss the difference between reality and imagination. By taking a item of job-related that is only construed in its original sequence