Lichtenstein: A Retrospective.

 When first showing up to the Tate modern I was expecting to be looking around the exhibition 'A Bigger Splash', however both tutors agreed that the Roy Lichtenstein exhibition was the stronger show of the two. I had known of Lichtenstein's work for some time because of certain pieces such as 'Whaam!' Which was arguably one of the most iconic pieces of the pop art movement.

However as much as I appreciate the process, composition and idea of Lichtenstein's comic book pieces, I became much more engaged with Lichtenstein's seascapes. What made the seascapes stand out for me was the simplicity of the composition and as whole they raised more issues with me than any other pieces on display. Lichtenstein's repetitive style of using dots and lines in a very calculated sense only became undermined by the irregularities the occurred when he painted them. Although these irregularities are apparent in his other work, you begin to appreciate the way the paint has been applied due to the more simplistic composition.

 Noticing these small blemishes within Lichtenstein's work has also made me embrace when the paint may bleed in my pieces. I also feel that it makes the work feel more genuine and makes the process less ambiguous to the works audience. When having a discussion with one of peers whilst walking around the exhibition they criticised Lichtenstein's work due to the way it felt "too mass produced".  I had to disagree with this point due the fact there were these slight irregularities within the work. I feel this is the same when comparing a screen print to a mass produced print. There is a quality that would only be apparent in the screen print. For example, slightly raised ink and unplanned marks.

I was also very fond of Lichtenstein's studio studies. Humour always seems to be an important aspect to Lichtenstein's work and I felt this came through in very clever and subtle way in the studio studies. The way he depicted his own studio and own work in these pieces was a very interesting snap shot of the way he saw himself and his own work.

Some of the pieces I was less keen on were the Japanese landscapes. It was very difficult to put my finger on why I didn't like them but it felt almost as though his style had been exhausted. Even though the subject of his work had changed it didn't contain the same freshness that many of his early pieces had. Lichtenstein's female nudes had very much the same impact on me and I felt that overall the pieces were uninteresting.

Another set of work that really appealed to me were Lichtenstein's black and white pieces. These pieces showed every day objects in Lichtenstein's unique style. This was one of the things Lichtenstein carried out so well throughout his entire career; making the normal, average, mundane things that we barely glance at in day to day life captivating. The effect these pieces had on me was really quite extraordinary. One piece in particular (Tyre) stood out more than the others. This piece made my mind sway between recognising the everyday tyre and getting dragged into the pattern which made up the painting. I feel the black and white aided this effect very well due the marriage of these two components it acted upon your mind like an optical illusion.

Overall Lichtenstein has been one of the most iconic artists of the 20th century and epitomises the metaphor of milking a cow dry with his consistent use of the same style over his 40 year career. Although it may be the case that some of his pieces may be similar and lose the freshness Lichtenstein's work craves to be successful, I can appreciate the avenues of exploration and experimentation he took within his practice. This show has made a lasting impression on me and my own practice and has given me a new found appreciation for Licthenstein's work.