"Landscapes in the Chinese style," Roy Lichtenstein at Gagosian Gallery in New York
When you create a series of papers presented at the exhibition, the artist was inspired by traditional Chinese paintings and prints by Edgar Degas
Gagosian Gallery, New York, March 1 - April 7, 2012
| Bonsai. In 1992 Source: | flowers and bamboo. 1996 Source: |
First March in the Gagosian Gallery in New York opened an exhibition of classic pop-art Roy Lichtenstein (Roy Lichtenstein) (1923-1997), which presents works by the artist, styled after the traditional Chinese painting.
Throughout his career, Roy Lichtenstein and destroyed in every way undermine the traditional imagery of the Western European of art. He drew inspiration from many sources, ranging from advertising and comic books and ending with classical art and architecture of European modernists. Passion Liechtenstein traditional Chinese painting resulted in a graceful, airy landscapes of his "Chinese" series.
no role in its creation has played the impression made by Lichtenstein exhibition Degas, held at New York's Museum Metropolitan in 1994, in which the artist saw the monochrome prints Frenchman. Liechtenstein was amazed at how Degas represents the contour of the landscape some light touches, limited to a specific allusion to the shape or object, but avoiding its detailed images.
| Landscape with a boat. 1996 Source: |
artist reinterprets the traditional themes and motifs of Chinese painting with its own proprietary technology: its landscapes made up of dots and bright lines, resembling a manifold increase in offset printing.
Like other works of Liechtenstein and its tendency to beat the Chinese landscape of American culture to absorb foreign culture surface, through the cliches and stereotypes, such as a bonsai tree, pointed a peasant's straw hat, and so on. However, in the "Chinese" cycle pervasive irony of the artist's early work is diluted with aesthetic pleasure from the contemplation of creation and refined forms: in "Landscape with a Boat" point cloud collected in bunches, symbolize the boundaries of various zones of the landscape and topographic features.
Fascinated by the beauty of the original sources, usually ironic Lichtenstein in the Chinese cycle is soft and lyrical. In it he speculates on the possibility of a harmonious and balanced translation of traditional pictorial images into the language of contemporary visual culture and successfully proves this possibility in practice.
Prepared by Mary Estrova, AI
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