Lichtenstein, Rouen Cathedral Set V

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Lichtenstein, Rouen Cathedral Set V발음듣기

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(lively music) [Dr. Zucker] We're in SFMOMA and we're looking at a hilarious triptych.발음듣기

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It's called Rouen Cathedral Set V and it was painted in 1969 by Roy Lichtenstein, the pop artist.발음듣기

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So, this is just say, 7 or 8 years after pop has really established itself in the United States but pop has also really run its course.발음듣기

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There's this sort of difference that's taking place here.발음듣기

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There is a real thoughtfulness about the implications...발음듣기

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[Dr. Harris] Of what they've done.발음듣기

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[Dr. Zucker] Yeah.발음듣기

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[Dr. Harris] If you think about earlier work by Lichtenstein or Warhol, Lichtenstein blowing up comic book frames like the Drowning Girl at MOMA or Warhol's Soup Cans.발음듣기

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So, there's a sort of more classically pop and drawing from pop culture but here, Lichtenstein is obviously, as you said being more thoughtful about his place in art history and redoing Monet's series of Rouen Cathedral.발음듣기

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So, he's doing a series based on a series.발음듣기

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And it looks like just magnification of a reproduction because they've got those Ben-Day Dots...발음듣기

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[Dr. Zucker] Exactly.발음듣기

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[Dr. Harris] that make up of course, bad printing in say, comic book from the early '60s.발음듣기

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[Dr. Harris] So, let's talk about those dots, the circles those are coming from a kind of color reproduction that we still use today that are called Ben-Day Dots and usually,발음듣기

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they're so small, we can't see them but Lichtenstein has enlarged them and interestingly, this sort of takes on the look of that bad reproduction that you just referred to but actually, these are painted.발음듣기

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So, he's still painting them but the individuality of that mark-making that happens when Monet paints so short, beautiful brush strokes is not here anymore.발음듣기

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When we're up close like this, [Dr. Zucker] (laughs)발음듣기

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[Dr. Zucker] Those Ben Day Dots.발음듣기

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[Dr. Zucker] (laughs) that this triptych is based on, can come into focus a little bit.발음듣기

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[Dr. Zucker] Well, you'd say the same thing about a Monet painting wouldn't you?발음듣기

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[Dr. Harris] That's true that it dissolves into brush strokes when you're up close.발음듣기

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[Dr. Zucker] I think it's so funny though that it has in a sense, the same visual quality as a Monet in its eligibility but this is a mechanized structure which is an expression of the 20th century as opposed to Monet's individual brushwork.발음듣기

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[Dr. Harris] And so, you have Monet's interest in his own subjective vision and his own subjective application of paint on the canvas and he painted the Rouen Cathedral at different times of the day and so, each moment is unique, each painting is unique and yet, they're part of a series and...발음듣기

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[Dr. Zucker] The irony is that Lichtenstein painted these by hand and that's not to say he didn't use a stencil but they're still hand painted and so, there is this funny play in both sets that really sort of was brought to the floor about this conflict between mechanization.발음듣기

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[Dr. Harris] And hand painting and the subjective vision and uniqueness.발음듣기

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[Dr. Zucker] They're just hilarious and wonderful, aren't they?발음듣기

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[Dr. Harris] They're very fun. (lively music)발음듣기

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