Lichtenstein
Today is my fifth wedding anniversary. In typical April showers, we walked (or sploshed), stuffing our faces from Borough market, along to Tate Modern. I am a not-well-read- comic- book enthusiast, more so than a fan of pop-art. Lichtenstein’s famous 1960s comic strip repros/blow-ups may have lost their impact in the pages of art books and magazines but I wasn’t prepared for their impact ‘in real life’ – especially in the first four rooms of the exhibition. The colours, to start, are so uncomplicated and true to the cheap print wash of their inspiration – I didn’t know that Lichtenstein even replicated the inconsistencies of tone and dot alignment that were in the original comics (see ‘Spraycan’).The early pieces, including a double page of a female foot pressing a pedal bin, one closed and the other open, made the most impact on me – for their simplicity and sense of humour – I laughed out loud at Donald Duck’s exclamation to Mickey that he had “caught a big one” out fishing, when actually hooking his own behind. Lichtenstein’s later work, created in the consciousness of his own popularity by that time, seemed to have lost that – by contrast they were complicated, clumsy, dare I say it – boring, by comparison. The fourth room didn’t disappoint in its drama and farce. Here were the big guns, popular, but deservedly so. They appeared to emulate the posters and headlines from Hollywood films and news stories – war and romance – as much as comic strip giants. Again I loved the interplay between image and text, including the fonts; the two I’ve included here put a smile on my face.