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Roy Lichtenstein Sweet Dreams, Baby! (Corlett 39)
"The inclusion of 'Pow!' as such a central component of the composition prioritises the presence of onomatopoeia in Lichtenstein's work, which was central in energising the action. Used in comic books, it also evoked his interest in sound, which was used to capture the musicality of heightened moments".
Roy Lichtenstein’s screenprint Sweet Dreams, Baby! was one of his first Pop images. Collating comic-book style action, vibrant colours and his signature Benday dots alongside the explosive ‘Pow!’ culminates to produce an energised print. Part of ‘11 Pop Artists’, a 3-part portfolio commissioned in 1965 that compiled prints by emerging artists of the period, Sweet Dreams, Baby! is from an edition of 200 and signed in pencil.
The powerful impact of the print is foregrounded by the capitalised ‘POW!’ displayed near the centre, emphasised by its raging red hue. Two partial figures are depicted: one holds a clenched fist gripped tightly, and the other cowers in the corner. The presence of the animated ‘POW!’ beneath the angry arm suggests a punch has just been delivered to the half-concealed head. A neighbouring speech bubble reads ‘Sweet Dreams, Baby!’, which is usually a tender term of endearment, but adds an ironic note here juxtaposed next to the violent farewell punch. Lichtenstein’s playful, paradoxical pairing of a sweet sentiment with aggressive hostility could hint at the contradictory, tempestuous nature of romance oscillating between heartbreak, heartache and anguish to love and devotion, similarly evinced in Lichtenstein’s screenprint Reverie, where the sorrowful songstress laments her lover.
The faceless figure thrusting their fist also suggests the universality of these widespread woes – if the viewer of the print were to reach his or her arm out, they too could be the owner of the centrally foregrounded fist. Similarly, the translucent shirt that seemingly melts into the background evokes a fading or dissolving of the spurned lover – possibly portraying the inevitable fading or dulling of love’s initial intensity. The bold canary yellow hue also evokes a sickly quality, perhaps indicative of ‘lovesickness’.
The inclusion of ‘Pow!’ as such a central component of the composition prioritises the presence of onomatopoeia in Lichtenstein’s work, which was central in energising the action. Used in comic books, it also evoked his interest in sound, which was used to capture the musicality of heightened moments.
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Roy Lichtenstein Sweet Dreams, Baby!
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