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83 (November 1962) was the source for Drowning Girl.ĭrowning Girl is derived from the splash page from "Run for Love!", illustrated by Tony Abruzzo and lettered by Ira Schnapp, in Secret Hearts #83 (November 1962), DC Comics. Tony Abruzzo's splash page from "Run for Love!" in Secret Hearts no.
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are among those tragedies that make the author a popular draw at museums. and the other defiance (she would rather drown than ask for her lover's help)." Drowning Girl, the aforementioned works and Oh, Jeff.I Love You, Too.But. "In Hopeless and Drowning Girl, for example, the heroines appear as victims of unhappy love affairs, with one displaying helplessness . These works served as prelude to 1964 paintings of innocent "girls next door" in a variety of tenuous emotional states. The subject of Drowning Girl is an example of Lichtenstein's post-1963 comics-based women who "look hard, crisp, brittle, and uniformly modish in appearance, as if they all came out of the same pot of makeup." In the early 1960s, Lichtenstein produced several "fantasy drama" paintings of women in love affairs with domineering men causing women to be miserable, such as Drowning Girl, Hopeless and In the Car. Lichtenstein once said of his technique: "I take a cliche and try to organize its forms to make it monumental." PBS asserts that this is an adaptation of the ligne claire style associated with Hergé. The style he adopted was "simple, well-framed images comprised of solid fields of bold color often bounded by thick, stark border lines." The borrowed technique was "representing tonal variations with patterns of colored circles that imitated the half-tone screens of Ben-Day dots used in newspaper printing". He applied simplified color schemes and commercial printing-like techniques. When Lichtenstein made his transition to comic-based work, he began to mimic the style while adapting the subject matter. Lichtenstein's first marriage to Isabel Wilson, which resulted in two sons, lasted from 1949 to 1965 the couple separated in 1963. Another possible influence on his emphasis on depicting distressed women in the early- to mid-1960s was that his first marriage was dissolving at the time. Picasso's depictions of weeping women may have influenced Lichtenstein to produce portrayals of vulnerable teary-eyed women, such as the subjects of Hopeless and Drowning Girl. Lichtenstein said that, at the time, "I was very excited about, and very interested in, the highly emotional content yet detached impersonal handling of love, hate, war, etc., in these cartoon images." Lichtenstein parodied four Picassos between 19. In 1961, Roy Lichtenstein's cartoon work advanced from animated cartoons to more serious themes such as romance and wartime armed forces.ĭrowning Girl depicted the advancement of Lichtenstein's cartoon work, which represented his 1961 departure from his abstract expressionism period, from animated cartoons to more serious themes such as romance and wartime armed forces. It is one of several Lichtenstein works that mention a character named Brad who is absent from the picture. It also borrows from Hokusai's The Great Wave off Kanagawa and from elements of modernist artists Jean Arp and Joan Miró. The work is derived from a 1962 DC Comics panel both the graphical and narrative elements of the work are cropped from the source image. Using the conventions of comic book art, a thought bubble reads: "I Don't Care! I'd Rather Sink - Than Call Brad For Help!" This narrative element highlights the clichéd melodrama, while its graphics - including Ben-Day dots that echo the effect of the printing process - reiterate Lichtenstein's theme of painterly work that imitates mechanized reproduction. She is emotionally distressed, seemingly from a romance. It shows a teary-eyed woman on a turbulent sea. The painting has been described as a "masterpiece of melodrama", and is one of the artist's earliest images depicting women in tragic situations, a theme to which he often returned in the mid-1960s.
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One of the most representative paintings of the pop art movement, Drowning Girl was acquired by the Museum of Modern Art in 1971. The painting is considered among Lichtenstein's most significant works, perhaps on a par with his acclaimed 1963 diptych Whaam!. Oil and synthetic polymer paint on canvasġ71.6 cm × 169.5 cm ( 67 + 5⁄ 8 in × 66 + 3⁄ 4 in)ĭrowning Girl (also known as Secret Hearts or I Don't Care! I'd Rather Sink) is a 1963 painting in oil and synthetic polymer paint on canvas by Roy Lichtenstein, based on original art by Tony Abruzzo.