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Image Duplicator : = Roy Lichtenstein and the Emergence of Pop Art.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Image Duplicator :/
Reminder of title:	Roy Lichtenstein and the Emergence of Pop Art.
Author:	Lobel, Michael Eric.
Description:	1 online resource (319 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 61-06, Section: A.
Contained By:	Dissertations Abstracts International61-06A.
Subject:	Biographies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9930929click for full text (PQDT)
ISBN:	9780599310216

Image Duplicator : = Roy Lichtenstein and the Emergence of Pop Art.
Lobel, Michael Eric.

Image Duplicator :Roy Lichtenstein and the Emergence of Pop Art. - 1 online resource (319 pages)

Source: Dissertations Abstracts International, Volume: 61-06, Section: A.

Thesis (Ph.D.)--Yale University, 1999.

Includes bibliographical references

In the early 1960s Roy Lichtenstein was one of a group of American artists whose work came to be categorized within the larger movement known as Pop Art. This dissertation reconsiders the work Lichtenstein produced in the period between 1961 and 1965, and challenges those accounts which have maintained that the artist's relation to his comic book and advertising imagery was as simple and controlled as his painting style. In contrast, through a careful reading of Lichtenstein's early Pop paintings, and an examination of their historical context, the dissertation identifies in the artist's seemingly uninflected imagery a set of wholly ambivalent responses to issues of vision, repetition, and technology. Chapter One attends to the putative origins of Pop Art by reconsidering the relationship between Lichtenstein and his colleague Andy Warhol; the question of Pop's "origins" is also confronted through a close analysis of what is commonly taken to be Lichtenstein's first Pop painting. Chapter Two considers the articulation of identity in the artist's work through his treatment of the related elements of brand name, trademark, and signature. Chapter Three documents Lichtenstein's training in a particular program of modernist visuality, and analyzes the recurrent motif of monocularity in his work as evidence of his confrontation with certain problems of vision and technology. Chapter Four relates Lichtenstein's work to contemporaneous art historical discourses, while Chapter Five considers the interrelation between gender and semiology in his imagery. The dissertation concludes with a reconsideration of the artist's commitment to artmaking in the face of those elements of the industrial and the mechanical that he had incorporated into his practice.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9780599310216Subjects--Topical Terms:

795061
Biographies.
Subjects--Index Terms:

Lichtenstein, RoyIndex Terms--Genre/Form:

542853
Electronic books.

Image Duplicator : = Roy Lichtenstein and the Emergence of Pop Art.
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500 $a Publisher info.: Dissertation/Thesis.
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502 $a Thesis (Ph.D.)--Yale University, 1999.
504 $a Includes bibliographical references
520 $a In the early 1960s Roy Lichtenstein was one of a group of American artists whose work came to be categorized within the larger movement known as Pop Art. This dissertation reconsiders the work Lichtenstein produced in the period between 1961 and 1965, and challenges those accounts which have maintained that the artist's relation to his comic book and advertising imagery was as simple and controlled as his painting style. In contrast, through a careful reading of Lichtenstein's early Pop paintings, and an examination of their historical context, the dissertation identifies in the artist's seemingly uninflected imagery a set of wholly ambivalent responses to issues of vision, repetition, and technology. Chapter One attends to the putative origins of Pop Art by reconsidering the relationship between Lichtenstein and his colleague Andy Warhol; the question of Pop's "origins" is also confronted through a close analysis of what is commonly taken to be Lichtenstein's first Pop painting. Chapter Two considers the articulation of identity in the artist's work through his treatment of the related elements of brand name, trademark, and signature. Chapter Three documents Lichtenstein's training in a particular program of modernist visuality, and analyzes the recurrent motif of monocularity in his work as evidence of his confrontation with certain problems of vision and technology. Chapter Four relates Lichtenstein's work to contemporaneous art historical discourses, while Chapter Five considers the interrelation between gender and semiology in his imagery. The dissertation concludes with a reconsideration of the artist's commitment to artmaking in the face of those elements of the industrial and the mechanical that he had incorporated into his practice.
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