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It's 1961. | 0:00:04 | 0:00:07 | |
You are a mild-mannered, frustrated 37-year-old art teacher, whose career in art is going nowhere. | 0:00:07 | 0:00:13 | |
You believe American art doesn't reflect the excitement of America. | 0:00:13 | 0:00:17 | |
You decide what DOES reflect that excitement is comic-book art - | 0:00:17 | 0:00:21 | |
the imagery of the commercial world. | 0:00:21 | 0:00:23 | |
You apply high-art techniques, your paintings hang in a major gallery. | 0:00:23 | 0:00:28 | |
You are Roy Lichtenstein. You are a major figure in American art. | 0:00:28 | 0:00:32 | |
You have changed the direction of American art. You have superpowers. | 0:00:32 | 0:00:37 | |
'Roy Lichtenstein, Pop Idol. | 0:00:38 | 0:00:41 | |
'See Roy's incredible rags-to-riches story. | 0:00:41 | 0:00:45 | |
'The man who blew away the art world with his fabulous and super-cool paintings and made millions. | 0:00:45 | 0:00:51 | |
'It wasn't always that way, folks. | 0:00:51 | 0:00:53 | |
'In the early years, Roy struggled against poverty, obscurity and failure. | 0:00:53 | 0:00:58 | |
'How will Roy get out of this one? | 0:00:58 | 0:01:00 | |
'All this in Roy Lichtenstein, Pop Idol.' | 0:01:00 | 0:01:04 | |
Roy Lichtenstein is best known for his detached, ironic comic paintings | 0:01:09 | 0:01:14 | |
of chiselled-jawed men and weeping girls. | 0:01:14 | 0:01:17 | |
When the work first appeared in 1962, | 0:01:17 | 0:01:20 | |
it seemed someone had dragged images off the billboards outside | 0:01:20 | 0:01:24 | |
and stuck them up on the walls of the gallery. | 0:01:24 | 0:01:27 | |
Lichtenstein challenged people's conceptions of art, | 0:01:27 | 0:01:30 | |
and in doing so became one of the defining image-makers of the 1960s. | 0:01:30 | 0:01:35 | |
Roy Lichtenstein was born in 1923, and grew up here in the Upper West Side of New York, | 0:01:39 | 0:01:44 | |
when it was home to a community of affluent Jewish emigres. | 0:01:44 | 0:01:48 | |
His father was a property developer. | 0:01:48 | 0:01:51 | |
His sister remembers how they lived next door to a Russian composer. | 0:01:51 | 0:01:55 | |
There's a plaque there to Rachmaninov. | 0:01:55 | 0:01:59 | |
I can remember we would sit on the indoor steps - | 0:01:59 | 0:02:02 | |
the steps inside the building - and listen to Rachmaninov practise. | 0:02:02 | 0:02:08 | |
But life in the Lichtenstein home was quiet. | 0:02:08 | 0:02:11 | |
'My mother was very funny,' | 0:02:12 | 0:02:15 | |
but she kept her distance. | 0:02:15 | 0:02:18 | |
She wasn't emotional, | 0:02:18 | 0:02:20 | |
'and I think not very concerned about us. | 0:02:20 | 0:02:24 | |
Roy grew shy and withdrawn, but quietly determined. | 0:02:24 | 0:02:27 | |
As a teenager, he felt the need to spend more time away from home, to escape into an exciting new world. | 0:02:30 | 0:02:36 | |
'Roy develops an interest in jazz | 0:02:36 | 0:02:39 | |
'and spends his evenings up in Harlem, listening to Count Basie and Lester Young at the Apollo. | 0:02:39 | 0:02:44 | |
'These performances inspire his first paintings, Picasso-style portraits of jazz musicians.' | 0:02:44 | 0:02:51 | |
But his parents still didn't take him seriously. | 0:02:51 | 0:02:55 | |
'They didn't think he was destined for greatness. I'm afraid not.' | 0:02:55 | 0:03:00 | |
It would be a miracle if he finished college, and heaven knows what he'd do after that! | 0:03:00 | 0:03:05 | |
When America joined the Second World War, all questions about Roy's future were put on hold. | 0:03:06 | 0:03:12 | |
He was drafted into the Air Force. | 0:03:12 | 0:03:14 | |
Unlike the heroic pilots he painted later, he never got to fly a plane. | 0:03:14 | 0:03:19 | |
Instead, he landed a desk job as a map maker. | 0:03:21 | 0:03:26 | |
Roy's artistic skills gained the attention of his commanding officer, | 0:03:26 | 0:03:30 | |
who ordered him to copy newspaper cartoons to stick on the mess wall. | 0:03:30 | 0:03:34 | |
Lichtenstein later remembered finding the job stupid. | 0:03:34 | 0:03:37 | |
Cartoons weren't his idea of art. | 0:03:37 | 0:03:39 | |
At least, they weren't yet. | 0:03:39 | 0:03:42 | |
Roy finally got to see some action in 1944, | 0:03:42 | 0:03:46 | |
when he was called up for the Battle of the Bulge, the largest American offensive in the war. | 0:03:46 | 0:03:52 | |
He spoke about being in combat, at one point, and it was incredible. | 0:03:52 | 0:03:58 | |
He saw incredible things happening - | 0:03:58 | 0:04:01 | |
the sky lighting up, the firing of the guns, | 0:04:01 | 0:04:05 | |
and he stood up. | 0:04:05 | 0:04:07 | |
Somebody pulled him down, and said, "You wanna get killed, you fool?!" | 0:04:07 | 0:04:11 | |
Because it was just so incredible. | 0:04:11 | 0:04:14 | |
He said that he was taken by the beauty of it. | 0:04:14 | 0:04:17 | |
After Armistice, Roy was stationed in Paris and visited the galleries. | 0:04:18 | 0:04:23 | |
By now, he was intent on becoming an artist. He even tried to visit his hero Picasso. | 0:04:23 | 0:04:28 | |
But his awe for him was so great that he got scared | 0:04:28 | 0:04:32 | |
and ran away without even knocking on the studio door. | 0:04:32 | 0:04:36 | |
Coming back to America after the war, retaining a youthful belief in the power of art, | 0:04:36 | 0:04:41 | |
Lichtenstein seemed a long way from the irritant who, 15 years later, | 0:04:41 | 0:04:45 | |
was vandalising galleries with what appeared to be anti-art. | 0:04:45 | 0:04:49 | |
In 1946, he enrolled at Ohio State University, majoring in art. | 0:04:49 | 0:04:54 | |
Sculptor Tom Doyle was there with him. | 0:04:54 | 0:04:58 | |
Everyone knew he was going to be a champ, you know what I mean? | 0:04:58 | 0:05:02 | |
He was like the star of the art department out there. | 0:05:02 | 0:05:06 | |
He was just so...so different than everybody there. | 0:05:06 | 0:05:10 | |
He had that kind of knowing something, | 0:05:10 | 0:05:14 | |
like he knew something you didn't, you know what I mean? | 0:05:14 | 0:05:17 | |
It's like someone who has a secret. | 0:05:17 | 0:05:19 | |
Already, Roy was known for his satirical humour, | 0:05:19 | 0:05:22 | |
poking fun at American institutional life, particularly the military. | 0:05:22 | 0:05:28 | |
We were in a class, a drawing class, when MacArthur resigned | 0:05:28 | 0:05:32 | |
and made that great speech, "Old soldiers never die, they just fade away." | 0:05:32 | 0:05:38 | |
Roy and I laughed like hell! We were laughing. | 0:05:38 | 0:05:42 | |
And all the other students were just horrified that we are laughing at this great general, you know. | 0:05:42 | 0:05:48 | |
This playfulness features in Roy's early work. | 0:05:49 | 0:05:52 | |
Superficially, this painting may look like another art-school Picasso imitation, | 0:05:52 | 0:05:57 | |
but look in the top left-hand corner, and you see that it's taken from an advert for corned beef. | 0:05:57 | 0:06:03 | |
In the year 1954, | 0:06:03 | 0:06:06 | |
I was assigned to write about an artist called Roy Lichtenstein, | 0:06:06 | 0:06:12 | |
whom I had never heard of before, nor had anybody else. | 0:06:12 | 0:06:16 | |
There was a picture of a dollar bill, | 0:06:16 | 0:06:19 | |
and a picture of George Washington crossing the Delaware, | 0:06:19 | 0:06:24 | |
but these relatively vulgar subjects were executed | 0:06:24 | 0:06:28 | |
in a kind of tired, you know, modern, art-school style. | 0:06:28 | 0:06:34 | |
Lichtenstein seems only a step away from his later pop work. | 0:06:34 | 0:06:39 | |
He had to shed the self-consciously arty style in which he painted these commercial images. He wasn't ready, | 0:06:39 | 0:06:45 | |
nor was the abstract expressionist art world. | 0:06:45 | 0:06:48 | |
Its major figures - Mark Rothko, Jackson Pollock, Willem de Kooning - were like a holy trinity of gloom. | 0:06:48 | 0:06:55 | |
The images of everyday life were inadequate for representing the tragedy of the human condition, | 0:06:55 | 0:07:02 | |
replaced with wild splashes and sweeps of paint. | 0:07:02 | 0:07:05 | |
In 1949, an article in Life magazine called Pollock "the greatest artist in America". | 0:07:05 | 0:07:11 | |
Ever since then, most younger avant-garde painters imitated his expressive style. | 0:07:11 | 0:07:16 | |
By comparison, Lichtenstein's early work seems stubbornly childish. | 0:07:16 | 0:07:22 | |
At odds with the art scene, the champ of Ohio State College slipped out of the limelight. | 0:07:24 | 0:07:30 | |
He'd married in 1949, and he and his wife Isabel had two sons. | 0:07:33 | 0:07:38 | |
Lichtenstein could only find work teaching in Oswego, | 0:07:38 | 0:07:41 | |
right up in the mountains by the Canadian border. | 0:07:41 | 0:07:44 | |
It was not a good move. | 0:07:44 | 0:07:47 | |
He had the kids, you know, and he had the dog, | 0:07:48 | 0:07:51 | |
but it didn't seem... | 0:07:51 | 0:07:53 | |
I don't know, it seems like he was kind of, like, floating or something. | 0:07:53 | 0:07:57 | |
I didn't feel like he was all that happy. | 0:07:57 | 0:08:00 | |
She wasn't happy. She was really unhappy when they went to Oswego, you know, | 0:08:00 | 0:08:06 | |
because no-one would ever visit them there. | 0:08:06 | 0:08:09 | |
It's like way to hell... | 0:08:09 | 0:08:11 | |
It's like Siberia, or something. | 0:08:11 | 0:08:13 | |
Isabel became depressed and turn to alcohol. | 0:08:13 | 0:08:17 | |
In the evenings, Roy took refuge in his studio. | 0:08:17 | 0:08:20 | |
But knowing that his style was at odds with the mood of the times, | 0:08:20 | 0:08:24 | |
he was suffering an identity crisis. | 0:08:24 | 0:08:26 | |
What should he paint? | 0:08:26 | 0:08:29 | |
Craving success and recognition, he dabbled in abstract expressionism. | 0:08:29 | 0:08:33 | |
It was a compromise, and the paintings from this time | 0:08:33 | 0:08:37 | |
lack the energy and gentle humour of his best work. | 0:08:37 | 0:08:41 | |
He never really was interested | 0:08:41 | 0:08:43 | |
in the abstract expressionist paintings | 0:08:43 | 0:08:49 | |
that he was doing. I think they probably felt false to him, | 0:08:49 | 0:08:53 | |
but he did feel as if he was stuck in the boondocks, | 0:08:53 | 0:09:00 | |
and he was. | 0:09:00 | 0:09:02 | |
But Roy was secretly working on something different. | 0:09:02 | 0:09:05 | |
To his mind, American society was in a state of rapid change, and he wanted to reflect this in his work. | 0:09:05 | 0:09:11 | |
Enjoying economic boom, the country was beginning its obsession with consumerism. | 0:09:11 | 0:09:17 | |
The images were no longer in the art gallery, | 0:09:17 | 0:09:20 | |
but on television, billboards and comic books. | 0:09:20 | 0:09:23 | |
Lichtenstein instinctively felt | 0:09:23 | 0:09:26 | |
that art must come out of its ivory tower, | 0:09:26 | 0:09:29 | |
and respond to this visual challenge. | 0:09:29 | 0:09:32 | |
In a series of sketches from the late 1950s, | 0:09:32 | 0:09:35 | |
he began to experiment with familiar cartoon characters. | 0:09:35 | 0:09:39 | |
'I was doing them | 0:09:39 | 0:09:41 | |
'sort of immersed in abstract expressionism. | 0:09:41 | 0:09:44 | |
'It was a kind of abstract expressionist image | 0:09:44 | 0:09:47 | |
'with these cartoons within this expressionist image. | 0:09:47 | 0:09:51 | |
'It's a little hard to picture, I think, and the paintings themselves weren't very successful.' | 0:09:51 | 0:09:57 | |
He was right, they weren't. | 0:09:57 | 0:09:59 | |
He had yet to find a way of using the images of the commercial world | 0:09:59 | 0:10:03 | |
without concealing them in the house style of American art. | 0:10:03 | 0:10:06 | |
So, for the time being, he continued with his lightweight abstract work. | 0:10:06 | 0:10:11 | |
Throughout the '50s, Lichtenstein's determined quest | 0:10:11 | 0:10:15 | |
to get the attention of the art world was going nowhere. | 0:10:15 | 0:10:18 | |
Every tack he pursued was greeted with lukewarm response. | 0:10:18 | 0:10:22 | |
As 1960 approached, he was in his late 30's, and getting desperate. | 0:10:22 | 0:10:26 | |
As the new decade began, Lichtenstein's luck changed. | 0:10:31 | 0:10:35 | |
He got a teaching post at Douglas College, just outside New York. | 0:10:35 | 0:10:39 | |
He was back at the heart of the avant-garde art scene. | 0:10:39 | 0:10:42 | |
There were other artists like him, sick of abstract expressionism, | 0:10:42 | 0:10:47 | |
and keen to engage with the world around them. | 0:10:47 | 0:10:50 | |
In Flag, Jasper Johns took America's most beloved image | 0:10:50 | 0:10:54 | |
presenting it in faded tones, looking ragged and worn. | 0:10:54 | 0:10:57 | |
Robert Rauschenberg used materials often outside of the artist's reach, | 0:10:57 | 0:11:01 | |
using newspaper and magazine cuttings to add texture to the background of his work. | 0:11:01 | 0:11:06 | |
An underground art scene based at Douglas College held live performances or happenings | 0:11:06 | 0:11:12 | |
that challenged people's conceptions of what was and was not art. | 0:11:12 | 0:11:16 | |
Change was in the air. | 0:11:16 | 0:11:18 | |
This move also shook up Lichtenstein's personal life, and he separated from Isabel. | 0:11:20 | 0:11:26 | |
Letty Lou Eisenhauer became a close friend and later his lover. | 0:11:26 | 0:11:31 | |
'He came to Douglas' | 0:11:31 | 0:11:34 | |
and he met all of these people who had a whole different vision of what art was. | 0:11:34 | 0:11:39 | |
It took him a while to acclimate and then, I think, | 0:11:39 | 0:11:43 | |
he slowly began to move in a new direction. | 0:11:43 | 0:11:46 | |
I think he was beginning to see that there was something else there | 0:11:46 | 0:11:51 | |
that you could make art out of, besides abstract ideas. | 0:11:51 | 0:11:55 | |
Lichtenstein realised that his abstract painting had taken him down a creative cul-de-sac. | 0:11:58 | 0:12:03 | |
Seeing how dated his work was in comparison with other New York artists, he had a breakthrough. | 0:12:03 | 0:12:09 | |
One day, in the spring of 1961, | 0:12:09 | 0:12:11 | |
he returned to the cartoon imagery he'd been toying with for so long. | 0:12:11 | 0:12:16 | |
But this time, he was to do something very unusual. | 0:12:16 | 0:12:20 | |
'In doing these paintings, I had, of course, the original strip cartoons to look at, | 0:12:20 | 0:12:26 | |
'and the idea of doing one without apparent alteration just occurred to me. | 0:12:26 | 0:12:32 | |
'I did one really almost half seriously, only to get an idea of what it might look like, | 0:12:32 | 0:12:37 | |
'and I kind of got interested in organising it as a painting, really, | 0:12:37 | 0:12:41 | |
'and brought it to conclusiveness as an aesthetic statement, | 0:12:41 | 0:12:46 | |
'which I really hadn't intended to do to begin with.' | 0:12:46 | 0:12:50 | |
The result of this experimentation was Look, Mickey. | 0:12:50 | 0:12:53 | |
If the unaltered cartoon image didn't represent a manifesto for a new art form in itself, | 0:12:53 | 0:12:58 | |
then the text made it clear. | 0:12:58 | 0:13:00 | |
Roy, in the guise of Donald Duck, told the world he was onto something big. | 0:13:00 | 0:13:05 | |
But while the painting was bold, Roy's characteristic caution made him hesitant. | 0:13:05 | 0:13:11 | |
I was with Roy, and we were in the car going to pick up some beer, | 0:13:11 | 0:13:17 | |
and Roy is telling me about the Donald Duck painting. | 0:13:17 | 0:13:20 | |
And I'm saying, "Yeah, yeah, turn here. Stop there, so I can get the beer." | 0:13:20 | 0:13:26 | |
And he's saying, "What do you think of this idea?" | 0:13:26 | 0:13:30 | |
He wasn't sure whether it was art or not. | 0:13:30 | 0:13:33 | |
The curious thing, he said, is that when he looked at this painting, | 0:13:33 | 0:13:37 | |
he was appalled by it, | 0:13:37 | 0:13:40 | |
and that, in a way, he had to get beyond his own taste | 0:13:40 | 0:13:46 | |
to be able to continue to do that, because it looked so unlike art. | 0:13:46 | 0:13:52 | |
But Roy overcame his reservations, and during the summer of 1961, | 0:13:58 | 0:14:02 | |
worked at a feverish pace on the first of his "pop paintings". | 0:14:02 | 0:14:05 | |
He copied the images of newspaper adverts and comic strips, and the techniques which created them. | 0:14:05 | 0:14:11 | |
The wild gestural brushstroke of the abstract expressionists | 0:14:11 | 0:14:15 | |
gave way to a simple illustrative line. | 0:14:15 | 0:14:19 | |
His palette was one or two primary colours, | 0:14:19 | 0:14:22 | |
and sometimes no colours at all. | 0:14:22 | 0:14:24 | |
He often abandoned the paintbrush in favour of stencils and rollers. | 0:14:24 | 0:14:28 | |
The word looked as if it was created by a machine rather than a human being. | 0:14:28 | 0:14:33 | |
Miniature benday dots are used in newspaper ads in various densities | 0:14:36 | 0:14:41 | |
to create the illusion of modelling in light and shadow. | 0:14:41 | 0:14:44 | |
Lichtenstein enlarged them absurdly, and they became his signature. | 0:14:44 | 0:14:49 | |
They demonstrated how he relished the drama of abstraction, but transformed it into a cartoon. | 0:14:49 | 0:14:55 | |
But while Lichtenstein had managed to convince himself, would he be able to convince others? | 0:14:55 | 0:15:01 | |
The Castelli Gallery, here on the Upper East Side, was an important gallery in New York at the time. | 0:15:01 | 0:15:07 | |
Leo Castelli had made Robert Rauschenberg and Jasper Johns famous. | 0:15:07 | 0:15:12 | |
If Roy got a show here, this new art might take off. | 0:15:12 | 0:15:15 | |
At the time, Ivan Karp was Castelli's right-hand man. | 0:15:19 | 0:15:23 | |
A friend called him and asked him to look at the work of Roy Lichtenstein. | 0:15:23 | 0:15:29 | |
On the landing, just before the gallery levelled, | 0:15:29 | 0:15:32 | |
was this young man in front of some canvasses. | 0:15:32 | 0:15:35 | |
I said, "Are you the person who was sent by my friend out in New Jersey?" | 0:15:35 | 0:15:39 | |
He said, "Yes, I'm Roy Lichtenstein." | 0:15:39 | 0:15:41 | |
I asked him to deploy his works, wherever spaces there were, | 0:15:41 | 0:15:46 | |
between the paintings on display, and I had a rather startling reaction. | 0:15:46 | 0:15:52 | |
I said something like, "I'm not sure you're allowed to do things like this!" | 0:15:52 | 0:15:57 | |
I think that was the phrase that I issued forth at the time. | 0:15:57 | 0:16:01 | |
They were so startling and so contrary to the general prevailing current of the art at the time, | 0:16:01 | 0:16:07 | |
and they were, in a sense, immediately buoyant and refreshing. | 0:16:07 | 0:16:11 | |
I wanted Leo to see them. | 0:16:11 | 0:16:13 | |
And when Leo saw them, he was not appalled. | 0:16:13 | 0:16:16 | |
He said, "This is so dead-centre American, isn't it? | 0:16:16 | 0:16:20 | |
We'll leave some paintings here and see the reaction. | 0:16:20 | 0:16:24 | |
There was a certain buzz in New York. | 0:16:24 | 0:16:27 | |
Unbeknownst to each other, a number of different artists | 0:16:27 | 0:16:30 | |
started creating similar work at EXACTLY the same time. | 0:16:30 | 0:16:34 | |
An artist and a friend of his came in, and I took out the painting of the beach-ball girl of Roy's, | 0:16:34 | 0:16:40 | |
and showed it to them, and they were enthralled. | 0:16:40 | 0:16:43 | |
One of them who had a mop of grey hair and a very mottled complexion said to me, | 0:16:43 | 0:16:48 | |
"I'm doing work very, very much like this. Would you come to my studio and look at it?" | 0:16:48 | 0:16:54 | |
It was a man named Andy Warhol. | 0:16:54 | 0:16:56 | |
Andy Warhol was known only as a successful commercial illustrator. | 0:16:56 | 0:17:01 | |
In private, he also made some of his own cartoon paintings, not unlike Lichtenstein's. | 0:17:01 | 0:17:06 | |
Through the autumn of 1961, Roy waited on tenterhooks | 0:17:06 | 0:17:10 | |
as Castelli considered the work of both artists. | 0:17:10 | 0:17:13 | |
He said it's between me and another guy. I said, "Who's the other guy?" | 0:17:13 | 0:17:17 | |
And he says, "Andy Warhol." I said, "Who the hell is Andy Warhol?!" | 0:17:17 | 0:17:22 | |
I'd never heard of Andy Warhol. | 0:17:22 | 0:17:24 | |
He does, "Miller Shoe ads." I said, "Forget about that guy! | 0:17:24 | 0:17:28 | |
"You'll never hear from him again!" | 0:17:28 | 0:17:30 | |
Leo Castelli found Warhol a little too exotic as a personality, | 0:17:32 | 0:17:36 | |
and decided to do a show of Lichtenstein's work alone. | 0:17:36 | 0:17:40 | |
Warhol realised that without Castelli's patronage, he'd look like a follower of Lichtenstein, | 0:17:40 | 0:17:45 | |
so he abandoned his cartoon work for something different. | 0:17:45 | 0:17:49 | |
The result was the bold graphically enhanced Campbell's soup cans. | 0:17:49 | 0:17:54 | |
The distinctive repetition of this mundane everyday image was to make Warhol famous. | 0:17:54 | 0:17:59 | |
And in the spring of 1962, Lichtenstein had his legendary debut at the Castelli gallery. | 0:17:59 | 0:18:05 | |
He had hoped that his work was unusual, but he never anticipated the outrage it would cause. | 0:18:05 | 0:18:11 | |
There was profound hostility to his work. | 0:18:11 | 0:18:15 | |
The formal arts press... | 0:18:15 | 0:18:17 | |
There was nobody - except possibly Professor Robert Rosenblum - who was positive about it. | 0:18:17 | 0:18:23 | |
When you first saw the works, they looked unspeakably ugly, | 0:18:23 | 0:18:28 | |
er...which of course could be either a point of fascination or repulsion. | 0:18:28 | 0:18:34 | |
You're really forced | 0:18:36 | 0:18:38 | |
to look at how creepy, strange, | 0:18:38 | 0:18:42 | |
a woman in a dishwasher ad really looked. | 0:18:42 | 0:18:45 | |
I had just never seen anything like it. | 0:18:46 | 0:18:50 | |
There was no place for me | 0:18:50 | 0:18:52 | |
to compare it to or rationalise for or against it. | 0:18:52 | 0:18:58 | |
I was just confused, like I said. | 0:19:00 | 0:19:02 | |
And it was a very pleasant feeling. | 0:19:03 | 0:19:07 | |
Lichtenstein's intention was not just to undermine the hallowed notion of art. | 0:19:08 | 0:19:13 | |
For years, he'd searched for ways of expressing his real self. | 0:19:13 | 0:19:18 | |
This was it. | 0:19:18 | 0:19:19 | |
The comic paintings hung on the wall were cool, ironic, even fetishistic. | 0:19:19 | 0:19:25 | |
For Roy, a cool, ironic kind of guy, | 0:19:25 | 0:19:27 | |
this was the most honest, personal form of expression he could find. | 0:19:27 | 0:19:31 | |
Gone was the artist as tortured mystic. | 0:19:31 | 0:19:34 | |
To his critics, the work seemed banal. | 0:19:34 | 0:19:37 | |
Two collectors bought all the works, | 0:19:37 | 0:19:40 | |
at very humble prices, as you can imagine. | 0:19:40 | 0:19:43 | |
Hundreds of dollars for a painting. | 0:19:43 | 0:19:46 | |
We considered it a success that anybody bought these works. | 0:19:46 | 0:19:49 | |
They were so disconnected from prevailing modes. It was shattering. | 0:19:49 | 0:19:54 | |
And so it was a commercial success in that regard. | 0:19:54 | 0:19:58 | |
Lichtenstein's quest for artistic success had reached a climax. He was no longer the underdog. | 0:19:58 | 0:20:03 | |
He had outwitted Mickey Mouse. He had beaten up Bluto. | 0:20:03 | 0:20:07 | |
He had avoided the bullying tactics of the abstract expressionists. | 0:20:07 | 0:20:11 | |
His tone and technique were finer and had infinite possibilities. | 0:20:11 | 0:20:16 | |
As an artist, he could see clearly, because he was the King of New York. | 0:20:16 | 0:20:21 | |
He was now the hero that he'd always wanted to be. | 0:20:21 | 0:20:24 | |
Lichtenstein's success meant he could afford studio space in New York and assistants to help him. | 0:20:28 | 0:20:34 | |
The next few years were his most productive period, | 0:20:34 | 0:20:38 | |
resulting in the war paintings and crying-girl series. | 0:20:38 | 0:20:42 | |
The comic-book paintings weren't an indifferent manufactured exercise in appropriation and objectivity. | 0:20:42 | 0:20:48 | |
They could be violent, melodramatic. | 0:20:48 | 0:20:50 | |
They were an intensification of the excitement the subject had for him. | 0:20:50 | 0:20:54 | |
They enabled him to play out a series of satisfying fantasies. | 0:20:54 | 0:20:58 | |
Through the paintings, he told stories of his personal life and life as a painter. | 0:20:58 | 0:21:04 | |
I have a feeling that the male figures are often Roy himself, | 0:21:06 | 0:21:13 | |
these handsome gorgeous figures. | 0:21:13 | 0:21:16 | |
Roy wasn't handsome. | 0:21:16 | 0:21:18 | |
This is a fantasy about who you want to be and what you want - the beautiful girl. | 0:21:18 | 0:21:24 | |
He got the beautiful girl. | 0:21:24 | 0:21:26 | |
You want the elegant life of these people. You got that, then. | 0:21:26 | 0:21:31 | |
In the early-'60s, there was the end of his marriage, girlfriends. | 0:21:31 | 0:21:35 | |
While the women in his life changed, there was one consistent image he painted - the crying girl. | 0:21:35 | 0:21:42 | |
Perhaps the girl was crying because of Lichtenstein's disappointment in the cliches of romantic love. | 0:21:42 | 0:21:48 | |
Perhaps the girl was crying because Roy Lichtenstein was saying, | 0:21:48 | 0:21:52 | |
"I want a beautiful girl to cry over me the way these girls are crying over the men in their lives." | 0:21:52 | 0:21:58 | |
Then again, it's possible that Lichtenstein empathised more | 0:21:58 | 0:22:02 | |
with the submissive girls than their heartbreaking hunks. | 0:22:02 | 0:22:06 | |
We had a game we used to play, where I would burst through the door from having come in from graduate school, | 0:22:06 | 0:22:12 | |
and say something like, "I'm going to grab you and rape you!" | 0:22:12 | 0:22:17 | |
And he would go, "Ooh! Ooh! Ooh!" | 0:22:17 | 0:22:19 | |
And run around the room very slowly so I could catch him. | 0:22:19 | 0:22:23 | |
In 1965, he was able to leave behind the commercial imagery | 0:22:28 | 0:22:32 | |
that had satisfied all sorts of psychological and artistic needs, and return to high-art subjects. | 0:22:32 | 0:22:38 | |
The big brushstroke painting tamed the passion and spontaneity | 0:22:38 | 0:22:43 | |
of expressionist brushstroke into something cool and simply an image. | 0:22:43 | 0:22:47 | |
He had turned abstract expressionism into a cartoon, | 0:22:47 | 0:22:50 | |
both as a tribute, but to announce that he'd found a style all his own, | 0:22:50 | 0:22:54 | |
and he could do anything with it that he wanted. | 0:22:54 | 0:22:57 | |
And that's just what he did. | 0:22:57 | 0:23:00 | |
For the next 30 years, he presented a sort of history of the world according to Roy Lichtenstein. | 0:23:00 | 0:23:06 | |
There were landscapes with benday dots, | 0:23:06 | 0:23:09 | |
imitations of art with benday dots, | 0:23:09 | 0:23:11 | |
still lifes with benday dots, interiors with benday dots. | 0:23:11 | 0:23:15 | |
Some paintings just seemed to be benday dots alone. | 0:23:15 | 0:23:19 | |
Meanwhile, Roy himself became a well-known society figure - elegant and reserved. | 0:23:19 | 0:23:23 | |
In 1968, he married again - | 0:23:23 | 0:23:26 | |
the beautiful Dorothy Herzka. | 0:23:26 | 0:23:29 | |
He finally had the Brad lifestyle he'd always wanted. | 0:23:29 | 0:23:32 | |
He used to joke and say someone's going to shake him on the shoulders and say, | 0:23:32 | 0:23:38 | |
"Mr Lichtenstein, Mr Lichtenstein, get up, it's time for your pills!" | 0:23:38 | 0:23:42 | |
He'll have been in a coma or something! | 0:23:42 | 0:23:46 | |
He'll still be living in Oswego! | 0:23:46 | 0:23:50 | |
But the more well-known Roy became, the more difficult he was to read. | 0:23:50 | 0:23:55 | |
This self-portrait is revealing in that it is NOT revealing. | 0:23:56 | 0:24:00 | |
His head is significantly a mirror to the world around it, reflecting nothing. | 0:24:00 | 0:24:05 | |
It was as if he wanted to keep his personality out of his art. | 0:24:05 | 0:24:09 | |
Insofar as he had become Brad, | 0:24:09 | 0:24:11 | |
he was in danger of having reduced his life and his work to two dimensions. | 0:24:11 | 0:24:17 | |
He got an idea, did it, but then he was unwilling to move on. | 0:24:19 | 0:24:25 | |
You can take the idea to the next place, to a new step. | 0:24:25 | 0:24:29 | |
He didn't do that. | 0:24:29 | 0:24:32 | |
So was Lichtenstein just a one-hit wonder, intent on reducing everything to a cartoon? | 0:24:32 | 0:24:38 | |
To his admirers, the concept grew to become a style in itself, like Impressionism or Cubism. | 0:24:38 | 0:24:44 | |
Jeff Koons is one of America's most famous artists today, | 0:24:44 | 0:24:49 | |
largely because like Lichtenstein, he exploits commercial, pulp images. | 0:24:49 | 0:24:53 | |
Sometimes people say, "He didn't change. | 0:24:53 | 0:24:56 | |
"It was always like more of one line." | 0:24:56 | 0:25:00 | |
I think just the opposite. | 0:25:00 | 0:25:02 | |
I think, "Look at all the different approaches he made to his work, | 0:25:02 | 0:25:06 | |
"going from very kind of modernist-style paintings | 0:25:06 | 0:25:12 | |
"to the different type of cartoon images to the two-dimensional sculptures, but a very wide variety." | 0:25:12 | 0:25:19 | |
How do we make sense of Roy Lichtenstein's career? | 0:25:19 | 0:25:23 | |
His later works were like a good album tracks. | 0:25:23 | 0:25:25 | |
They're not as sexy, as immediate, as his early pop hits. | 0:25:25 | 0:25:28 | |
In a way, they are more absorbing and definitely more mature. | 0:25:28 | 0:25:33 | |
I mean, look, this guy, all he ever wanted to do was paint, right? | 0:25:33 | 0:25:37 | |
He worked his ass off, all the time. | 0:25:37 | 0:25:39 | |
That's all he ever did. | 0:25:39 | 0:25:41 | |
He liked cars, he liked to play tennis a little bit, I guess, but... | 0:25:41 | 0:25:45 | |
I think he's a fantastic worker. | 0:25:45 | 0:25:48 | |
By the mid-1980s, Lichtenstein was one of the most successful artists in the world. | 0:25:48 | 0:25:53 | |
His public sculpture and murals were all over the United States. | 0:25:53 | 0:25:58 | |
The Lichtenstein style, once so controversial, became mainstream. His works sold for a vast amount. | 0:25:58 | 0:26:04 | |
In the '90s, his marriage to the establishment was consummated | 0:26:04 | 0:26:09 | |
with a commission of prints to go on the walls of US embassies worldwide. | 0:26:09 | 0:26:13 | |
I don't know what to say. I'm completely overwhelmed. | 0:26:13 | 0:26:17 | |
Nobody screamed or got sick or anything when it was unveiled, so... | 0:26:17 | 0:26:23 | |
Thank you all tremendously. | 0:26:23 | 0:26:25 | |
Roy Lichtenstein never cultivated a celebrity as other pop artists did. | 0:26:27 | 0:26:31 | |
But he had enough of an ego to allow many everyday images that he had turned into high art | 0:26:31 | 0:26:37 | |
to be returned to the commonplace, to come off the gallery walls back to the outside world. | 0:26:37 | 0:26:42 | |
These tended to be items produced in collaboration | 0:26:42 | 0:26:45 | |
with museums that put on major Lichtenstein shows. | 0:26:45 | 0:26:49 | |
At the openings, Roy never wore one of his ties, but Jasper Johns did. | 0:26:49 | 0:26:54 | |
In return, Roy wore a Jasper Johns tie. | 0:26:54 | 0:26:57 | |
I imagine somewhere in New York, Jeff Koons is having a cup of tea | 0:26:57 | 0:27:01 | |
out of a Roy Lichtenstein teapot. | 0:27:01 | 0:27:04 | |
In fact, Lichtenstein's reputation has suffered because of his extraordinary success. | 0:27:04 | 0:27:10 | |
His images are so widespread that we forget how disconcerting they were when they first appeared. | 0:27:10 | 0:27:16 | |
Pinnacle Art Press in New Jersey are doing yet another run of posters | 0:27:16 | 0:27:21 | |
to satisfy the demand for his work. | 0:27:21 | 0:27:24 | |
I am the first pressman on this machine. My son is my operator. | 0:27:24 | 0:27:29 | |
They are popular mainly because of the bright colours. | 0:27:29 | 0:27:33 | |
There's a lot to look at, there are things to read on it. | 0:27:33 | 0:27:37 | |
Overall, it's just an eye-catching piece. | 0:27:37 | 0:27:41 | |
It's large... It would look really nice framed up, I think, along with a couple of other ones. | 0:27:43 | 0:27:49 | |
"Why, Brad, darling, this painting is a masterpiece! | 0:27:49 | 0:27:53 | |
"My, soon you'll have all of New York clamouring for your work." | 0:27:53 | 0:27:57 | |
I like it. | 0:27:57 | 0:28:00 | |
I'd hang it on my wall. | 0:28:00 | 0:28:03 | |
By the time he died in 1997, the one-time enfant terrible of the New York scene | 0:28:03 | 0:28:09 | |
had become the mellow old man of art. | 0:28:09 | 0:28:12 | |
The world of commerce that he had plundered over 30 years before had swallowed him back up and moved on. | 0:28:12 | 0:28:18 | |
While the world outside the gallery has got more and more garish and spectacular | 0:28:20 | 0:28:25 | |
since Lichtenstein had his big idea, his work DOES retain its power. | 0:28:25 | 0:28:30 | |
He took American art out of the gallery and into the everyday world. | 0:28:30 | 0:28:35 | |
Ironically, you now have to return to the quiet of the gallery, | 0:28:35 | 0:28:39 | |
away from the commercial chaos he predicted to see that Lichtenstein | 0:28:39 | 0:28:43 | |
produced some of the best paintings of his time. | 0:28:43 | 0:28:47 | |
Subtitles by Sarah Aitken BBC Broadcast 2004 | 0:28:54 | 0:28:57 | |
E-mail us at [email protected] | 0:28:57 | 0:29:01 |