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Roy Lichtenstein Nude Series
"It’s a little bit the way chiaroscuro isn’t just shadows but a way of combining the figure and the background, or whatever is near it in a dark area…you are not confined to the object pattern," Roy Lichtenstein
Roy Lichtenstein’s Nude Series came at a later point in his career, where he had evolved from his famed, early works based on comic book renditions to offer a more complex depiction of women, who sit at the heart of these portraits. In fact, Lichtenstein’s very final artwork before his death, Interior with Nude Leaving (1997) is part of the series, drawing on all of his key subjects and styles to provide a fitting closure to an acclaimed career, which spanned the 50s Abstract Expressionism, through the 60s new art movement, into the late 90s.Lichtenstein began work on collages for the Nude series – consisting of six images and three states - in his New York studio during the spring of 1993. Unlike Warhol who had earlier moved into silkscreens, Lichtenstein continued to paint by hand throughout his career. (The process for Nudes started with hand cut rubylith stencils for the outline relief of each image). However, whilst he had progressed his distinctive Ben Day dot signature with new variations throughout earlier works - such as the Mirror series (1972), Reflections (1990) and Interiors (1991) on which he heavily draws for Nudes - by this point he had a new characteristic altogether, creating undulating light and space rather than being constrained by the boundaries of a single outline. Lichtenstein, himself, summarised this new technique whereby the dots function as both two dimensional (overlay) and three dimensional (space and form) in a 1997 interview with David Sylvester; ‘It’s a little bit the way chiaroscuro isn’t just shadows but a way of combining the figure and the background, or whatever is near it in a dark area…you are not confined to the object pattern, but the subject matter excuse for this is that it’s a shadow. And that’s interesting to me.’Lichtenstein famously was drawn to ‘highly charged and emotional subject matters’ but whereas his early pop art evokes idealised women through the projecting lens of domineering men, often depicted as tearful victims, trapped by a society that doesn’t afford them any agency from solitude and subordinacy, works such as Thinking Nude, Nude Reading, Two Nudes reframe his early idealised heroines. These works are less flashy, sensual comic girl of the 60s and more an exploration of the art historical trope of the female nude itself.Roy Lichtenstein’s Nude Series is illustrative of how the artist took his identifiable comic-strip characteristics and evolved these techniques into clever and thought provoking meditations on art and popular culture that still resonate today. -
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