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==Reception==
==Reception==
Lichtenstein made ''Drowning Girl'' a cornerstone of his career because of "His extraordinary sense of organization, his ability to use a sweeping curve and manipulate it into an allover pattern..."<ref name=RLDW75>Waldman, p. 75.</ref> The work is described as "A mix of cliché, melodrama, pathos, and absurdity..."<ref>{{cite book|title= The Oxford Dictionary of American Art and Artists|page=282|isbn=978-0-19-512878-9|year=2007|author=Morgan, Ann Lee|publisher=[[Oxford University Press]]}}</ref> The result of this work is described as "a remarkably impassive style".<ref>{{cite book|title=Art Since 1940: Strategies of Being|author=Fineberg, Jonathan|publisher=[[Harry N. Abrams]]|isbn=0-8109-1951-6|year=1995|page=263}}</ref> ''Drowning Girl'' presents an "...unmistakeable acknowledgement to the flamboyant [[linearism]] of [[Art Nouveau]]...".<ref>{{cite book|title=An Illustrated History of Pop Art|author=Pierre, José|publisher=Eyre Methuen|isbn=0-413-38370-9|page=94|year=1977}}</ref> Tøjner states that this is "Lichtenstein's finest formulation of a counter-image to the many explosions in his universe", noting that the drama is past its peak although it may seem to be at a crescendo.<ref name=RLAAA19/> He also notes that "the tears are drawn with classic Lichtenstein waxy fullness" despite the surrounding water, which must signal since "naturalistic justification" is absent.<ref name=RLAAA19/> A November 1963 ''Art Magazine'' review stated that this was one of the "broad and powerful paintings" of the 1963 exhibition at Castelli's Gallery.<ref name=RLOF4/> In a December 1964 ''Art Magazine'' review of his October 24 – September 19, 1964 Castelli Gallery show, he was referred to as the author of ''I Don’t Care, I’d Rather Sink'' (''Drowning Girl'').<ref name=RLOF4b>{{cite book|editor=Bader|page=4|chapter=Reviews 1962–64|author=Judd, Donald}}</ref> According to Gary Garrels of the [[Museum of Modern Art]] The work is a "poetics of the utterly banal, of displaced ordinariness" resulting in an "image frozen in time and space", making it "iconic".<ref name=DftM>{{cite book|url=http://books.google.com/books?id=aFikE_v1OJIC&pg=PA28&dq=%22Drowning+Girl%22+Lichtenstein&hl=en&sa=X&ei=k8evUdL1FozV0gGJ1oD4Bw&ved=0CDsQ6AEwAg#v=onepage&q=%22Drowning%20Girl%22%20Lichtenstein&f=false|title=Drawing from the Modern: 1945-1975|volume=2|page=28|accessdate=2013-06-06|date=2005|publisher=[[Museum of Modern Art]]|author=Garrels, Gary|isbn=0870706640}}</ref> Comparing this to the source, Garrels says it is a rendering "in a simplified vocabulary" produced while putting aside his mechanical objectivity.<ref name=DftM/>
Lichtenstein made ''Drowning Girl'' a cornerstone of his career because of "His extraordinary sense of organization, his ability to use a sweeping curve and manipulate it into an allover pattern..."<ref name=RLDW75>Waldman, p. 75.</ref> The work is described as "A mix of cliché, melodrama, pathos, and absurdity..."<ref>{{cite book|title= The Oxford Dictionary of American Art and Artists|page=282|isbn=978-0-19-512878-9|year=2007|author=Morgan, Ann Lee|publisher=[[Oxford University Press]]}}</ref> The result of this work is described as "a remarkably impassive style".<ref>{{cite book|title=Art Since 1940: Strategies of Being|author=Fineberg, Jonathan|publisher=[[Harry N. Abrams]]|isbn=0-8109-1951-6|year=1995|page=263}}</ref> ''Drowning Girl'' presents an "...unmistakeable acknowledgement to the flamboyant [[linearism]] of [[Art Nouveau]]...".<ref>{{cite book|title=An Illustrated History of Pop Art|author=Pierre, José|publisher=Eyre Methuen|isbn=0-413-38370-9|page=94|year=1977}}</ref> Tøjner states that this is "Lichtenstein's finest formulation of a counter-image to the many explosions in his universe", noting that the drama is past its peak although it may seem to be at a crescendo.<ref name=RLAAA19/> He also notes that "the tears are drawn with classic Lichtenstein waxy fullness" despite the surrounding water, which must signal since "naturalistic justification" is absent.<ref name=RLAAA19/> A November 1963 ''Art Magazine'' review stated that this was one of the "broad and powerful paintings" of the 1963 exhibition at Castelli's Gallery.<ref name=RLOF4/> In a December 1964 ''Art Magazine'' review of his October 24 – September 19, 1964 Castelli Gallery show, he was referred to as the author of ''I Don’t Care, I’d Rather Sink'' (''Drowning Girl'').<ref name=RLOF4b>{{cite book|editor=Bader|page=4|chapter=Reviews 1962–64|author=Judd, Donald}}</ref> According to Gary Garrels of the [[Museum of Modern Art]] The work is a "poetics of the utterly banal, of displaced ordinariness" resulting in an "image frozen in time and space", making it "iconic".<ref name=DftM>{{cite book|url=http://books.google.com/books?id=aFikE_v1OJIC&pg=PA28&dq=%22Drowning+Girl%22+Lichtenstein&hl=en&sa=X&ei=k8evUdL1FozV0gGJ1oD4Bw&ved=0CDsQ6AEwAg#v=onepage&q=%22Drowning%20Girl%22%20Lichtenstein&f=false|title=Drawing from the Modern: 1945-1975|volume=2|page=28|accessdate=2013-06-06|date=2005|publisher=[[Museum of Modern Art]]|author=Garrels, Gary|isbn=0870706640}}</ref> Comparing this to the source, Garrels says it is a rendering "in a simplified vocabulary" produced while putting aside his mechanical objectivity.<ref name=DftM/> During the 2012&ndash;13 Retrospective, ''[The Huffington Post]]'' referred to ''Drowning Girl'' as Licttenstein's "masterpiece of melodrama".<ref>{{cite web|url=http://www.huffingtonpost.co.uk/2013/02/18/roy-lichtenstein-retrospective-at-tate-modern-review_n_2710865.html|title=
Roy Lichtenstein: Retrospective At Tate Modern (REVIEW) |accessdate=2013-06-06|date=2012-02-18|work=[The Huffington Post]]|author=Parker, Sam}}</ref>


==Notes==
==Notes==

Revision as of 05:37, 6 June 2013

Drowning Girl
ArtistRoy Lichtenstein
Year1963
TypePop art
Dimensions171.6 cm × 169.5 cm (67.625 in × 66.75 in)
LocationMuseum of Modern Art, New York City

Drowning Girl (sometimes I Don't Care! I'd Rather Sink) is a 1963 painting by Roy Lichtenstein. It is painted on canvas using oil paint and synthetic polymer paint. A speech balloon conveys thoughts much as a comic book would, and Ben-Day dots relate to the printing method used in producing comic books. It is considered to fall within the art movement known as Pop art. It has been part of the permanent collection of the Museum of Modern Art in New York City since 1971. Along with Whaam!, it is one of Lichtenstein's two most famous paintings.

Drowning Girl's narrative element highlight the cliched melodrama, while its graphics reiterate Lichtenstein's theme of painterly work depicting mechanized reproduction. The work was derived from a panel of a 1962 DC Comics publication, but also references Hokusai's The Great Wave off Kanagawa as well as both Jean Arp and Joan Miró. It is one of several Lichtenstein works which mentions a hero named Brad who is absent from the picture.

Background

Tony Abruzzo's panel from "Run For Love!" in Secret Hearts, no. 83 (November 1962) was the source for Drowning Girl.

Drowning Girl was derived from Tony Abruzzo's panel from "Run For Love!" in Secret Hearts, no. 83 (November 1962), DC Comics.[1] According to the Lichtenstein Foundation website, the painting was part of Lichtenstein's second solo exhibition at Leo Castelli Gallery from September 28 – October 24, 1963 that included Torpedo...Los!, Baseball Manager, In the Car, Conversation, and Whaam!.[2][3] The Museum of Modern Art acquired the work in 1971.[4] The Museum of Modern Art's page for this work on its website explains this work's acquisition as follows: "Philip Johnson Fund (by exchange) and gift of Mr. and Mrs. Bagley Wright".[5] Many sources, such as the Encyclopedia of Art describe Whaam! and Drowning Girl as Lichtenstein's most famous works.[6][7]

Description

Although the changes are not regarded as significant,[8] Lichtenstein made several notable changes from the original source: "In the original illustration, the drowning girl's boyfriend appears in the background, clinging to a capsized boat. Lichtenstein cropped the image dramatically, showing the girl alone and encircled by a threatening wave. He changed the caption from 'I don't care if I have a cramp!' to 'I don't care!' and the boyfriend's name from Mal to Brad."[5] When discussing another work (I Know...Brad), Lichtenstein stated that the name Brad sounded heroic to him and was used with the aim of cliched oversimplification.[9]

narrative content of Drowning Girl

Narrative content was in the forefront of much of Lichtenstein's work as a way to engage the viewer.[10] Measuring 171.6 cm × 169.5 cm (67.625 in × 66.75 in), Drowning Girl presents "a young woman who seems to have cried herself a river ... literally drowning in emotion." The melodrama makes it clear that she has been hurt by a "Brad", the name given to several of Lichtenstein's heroes.[11] The caption makes it clear that the subject is practically "drowning in sea of tears.[12]

The subject's head appears to rest on a wave as if it were a pillow and lies in the water as if it were a bed, creating a blend of "eroticism and final resting place".[13] The painting is representative of Lichtenstein's affinity for single-frame drama that reduces the viewer's ability to identify with it and that abstracts emotion. His use of industrial and mechanical appearance further trivialize the sentiments.[14] Picasso's depictions of weeping women may have influenced Lichtenstein to produce portrayals of vulnerable teary-eyed women, such as the subjects of Hopeless (1963) and Drowning Girl (1963).[15] This is an example of Lichtenstein's post-1963 comics-based women who "look hard, crisp, brittle, and uniformly modish in appearance, as if they all came out of the same pot of makeup." [16]

In the early 1960s, Lichtenstein produced several "fantasy drama" paintings of women in love affairs with domineering men causing women to be miserable, such as Drowning Girl, Hopeless and In the Car. These works served as prelude to 1964 paintings of innocent "girls next door" in a variety of tenuous emotional states.[8] "In Hopeless and Drowning Girl, for example, the heroines appear as victims of unhappy love affairs, with one displaying helplessness...and the other defiance (she would rather drown than ask for her lover's help)."[8] This was painted at the apex of Lichtenstein's use of enlarged dots, cropping and magnification of the original source.[17] Drowning Girl, the aforementioned works and Oh, Jeff...I Love You, Too...But... are among those tragedies that make the author a popular draw at museums.[12]

Poul Erik Tøjner refers to this painting as an example of Lichtenstein's "post-coital perdition" works, describing it as the "star witness" of this genre of his works. He notes that the subject is reaching far-flung depths as she acts out of pride.[18] Tøjner perceived eroticism in this painting, likening the open mouth to a vaginal feature and noting the singularity of Lichtenstein using an open mouth. With that in mind, he compares the tears to ejaculate residue.[19]

Lichtenstein acknowledges that the wave is adapted from Hokusai's famous print, The Great Wave off Kanagawa.[20]

The image is typical of Lichtenstein's depiction of comic subjects responding to a situation in a cliched manner.[21] The waves are intended to "recall Hokusai as well as the biomorphic forms of Arp and Miro;"[22] just as the source comics were intended to.[23] Lichtenstein has claimed a strong relation between ther original comic book source panel and Hokusai's The Great Wave off Kanagawa, making this work a bridge between the two.[24] The adaptation of the wave print is said to add a decorative look and feel to the painting, without which the work might be much more alarming to the viewer.[20] Lichtenstein stated the following about this work:

In the Drowning Girl the water is not only Art Nouveau, but it can also be seen as Hokusai. I don't do it just because it is another reference. Cartooning itself sometimes resembles other periods in art – perhaps unknowingly ... They do things like the little Hokusai waves in the Drowning Girl. But the original wasn't very clear in this regard – why should it be I was it and then pushed it a little further until it was a reference that most people will gett ... it is a way of crystallizing the style by exaggeration.

— Sources, [25][26]

Reception

Lichtenstein made Drowning Girl a cornerstone of his career because of "His extraordinary sense of organization, his ability to use a sweeping curve and manipulate it into an allover pattern..."[26] The work is described as "A mix of cliché, melodrama, pathos, and absurdity..."[27] The result of this work is described as "a remarkably impassive style".[28] Drowning Girl presents an "...unmistakeable acknowledgement to the flamboyant linearism of Art Nouveau...".[29] Tøjner states that this is "Lichtenstein's finest formulation of a counter-image to the many explosions in his universe", noting that the drama is past its peak although it may seem to be at a crescendo.[18] He also notes that "the tears are drawn with classic Lichtenstein waxy fullness" despite the surrounding water, which must signal since "naturalistic justification" is absent.[18] A November 1963 Art Magazine review stated that this was one of the "broad and powerful paintings" of the 1963 exhibition at Castelli's Gallery.[3] In a December 1964 Art Magazine review of his October 24 – September 19, 1964 Castelli Gallery show, he was referred to as the author of I Don’t Care, I’d Rather Sink (Drowning Girl).[30] According to Gary Garrels of the Museum of Modern Art The work is a "poetics of the utterly banal, of displaced ordinariness" resulting in an "image frozen in time and space", making it "iconic".[31] Comparing this to the source, Garrels says it is a rendering "in a simplified vocabulary" produced while putting aside his mechanical objectivity.[31] During the 2012–13 Retrospective, [The Huffington Post]] referred to Drowning Girl as Licttenstein's "masterpiece of melodrama".[32]

Notes

  1. ^ Waldman, pp. 118–119.
  2. ^ "Chronology". Roy Lichtenstein Foundation. Retrieved 2012-05-09.
  3. ^ a b Judd, Donald. "Reviews 1962–64". In Bader (ed.). pp. 2–4. {{cite book}}: Missing or empty |title= (help)
  4. ^ Lanchner, Carolyn (2009). Roy Lichtenstein. Museum of Modern Art. p. 3. ISBN 978-0-87070-770-4.
  5. ^ a b "Drowning Girl: Roy Lichtenstein (American, 1923–1997)". Museum of Modern Art. Retrieved 2012-05-23.
  6. ^ "Roy Lichtenstein: Biography of American Pop Artist, Comic-Strip-style Painter". Encyclopedia of Art. Retrieved 2013-06-05.
  7. ^ Cronin, Brian. "Why Does Batman Carry Shark Repellent?: And Other Amazing Comic Book Trivia!". Penguin Books. Retrieved 2013-06-06.
  8. ^ a b c Waldman, p. 113.
  9. ^ Coplans, p. 110.
  10. ^ Waldman, p. 63.
  11. ^ Hendrickson, Janis (1993). "The Pictures That Lichtenstein Made Famous, or The Pictures That Made Lichtenstein Famous". Roy Lichtenstein. Benedikt Taschen. p. 34. ISBN 3-8228-9633-0.
  12. ^ a b Borchert, Vian Shamounki (2012-12-11). "Roy Lichtenstein: A Retrospective at the National Gallery of Art, Washington, DC". Gaithersburg Patch. Retrieved 2013-06-05.
  13. ^ Hendrickson, Janis (1993). "The Pictures That Lichtenstein Made Famous, or The Pictures That Made Lichtenstein Famous". Roy Lichtenstein. Benedikt Taschen. p. 34. ISBN 3-8228-9633-0.
  14. ^ Hendrickson, Janis (1993). "The Pictures That Lichtenstein Made Famous, or The Pictures That Made Lichtenstein Famous". Roy Lichtenstein. Benedikt Taschen. p. 34. ISBN 3-8228-9633-0.
  15. ^ Schneider, Eckhard, ed. (2005). Roy Lichtenstein: Classic of the New. Kunsthaus Bregenz. p. 142. ISBN 3-88375-965-1.
  16. ^ Coplans, p. 23.
  17. ^ Rondeau and Wagstaff, p. 32.
  18. ^ a b c Tøjner. "I Know How You Must Feel...". In Holm; et al. (eds.). Roy Lichtenstein: All About Art. Louisiana Museum of Modern Art. p. 21. {{cite book}}: Explicit use of et al. in: |editor= (help)
  19. ^ Tøjner. "I Know How You Must Feel...". In Holm; et al. (eds.). p. 21. {{cite book}}: Explicit use of et al. in: |editor= (help); Missing or empty |title= (help)
  20. ^ a b Hendrickson, Janis (1993). "The Pictures That Lichtenstein Made Famous, or The Pictures That Made Lichtenstein Famous". Roy Lichtenstein. Benedikt Taschen. p. 34. ISBN 3-8228-9633-0.
  21. ^ Coplans, p. 15.
  22. ^ Coplans, p. 26.
  23. ^ Coplans, p. 91.
  24. ^ Rondeau and Wagstaff, p. 48.
  25. ^ Madoff, Steven Henry, ed. (1997). "Focus: The Major Artists". Pop Art: A Critical History. University of California Press. p. 202. ISBN 0-520-21018-2.
  26. ^ a b Waldman, p. 75.
  27. ^ Morgan, Ann Lee (2007). The Oxford Dictionary of American Art and Artists. Oxford University Press. p. 282. ISBN 978-0-19-512878-9.
  28. ^ Fineberg, Jonathan (1995). Art Since 1940: Strategies of Being. Harry N. Abrams. p. 263. ISBN 0-8109-1951-6.
  29. ^ Pierre, José (1977). An Illustrated History of Pop Art. Eyre Methuen. p. 94. ISBN 0-413-38370-9.
  30. ^ Judd, Donald. "Reviews 1962–64". In Bader (ed.). p. 4. {{cite book}}: Missing or empty |title= (help)
  31. ^ a b Garrels, Gary (2005). Drawing from the Modern: 1945-1975. Vol. 2. Museum of Modern Art. p. 28. ISBN 0870706640. Retrieved 2013-06-06.
  32. ^ Parker, Sam (2012-02-18). "Roy Lichtenstein: Retrospective At Tate Modern (REVIEW)". [The Huffington Post]]. Retrieved 2013-06-06.

References

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