Torpedo...Los!: Difference between revisions

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==Reception==

This painting exemplifies Lichtenstein's use of the background/foreground shift and ironic colloquialisms in critical commands.<ref>{{harvnb|Waldman|1993|page=97}}</ref> Although most of Lichtenstein's war imagery depicts American war themes, this depicts "a scarred German submarine captain at a battle station".<ref>{{cite book|title=Roy Lichtenstein|publisher=[[Praeger Publishers]]|editor=Coplans, John|isbn=0713907614|chapter=|date=1972|page=40}}</ref> The manner of depiction with the commander's face pressed against the [[periscope]] reflects fusions of industrial art of the 1920s and 1930s.<ref name=TPTLmF>{{cite book|title=Roy Lichtenstein|author=Hendrickson, Janis|publisher=[[Benedikt Taschen]]|date=1993|isbn=3-8228-9633-0|page=38|chapter=The Pictures That Lichtenstein Made Famous, or The Pictures That Made Lichtenstein Famous}}</ref> The ironic aspect of this in 1963 is in part due to its temporal displacement referring back to World War II during the much later period of the [[Cold War]].<ref>{{cite book|title=Pollack and After: The Critical Debate|edition=second|editor=Frascina, Francis|publisher=Routledge|isbn=0-415-22867-0|date=2000|page=141}}</ref> The styling of the balloon content, especially that of the large font characters, is complemented by or complementary to the other traditional visual content of the painting.<ref>{{cite webbook|title=Pop Art: A Critical History|editor=Madoff, Steven Henry|isbn=0-520-21018-2|date=1997|page=205|publisher=[[University of California Press]]|chapter=Focus: The Major Artists}}</ref> Lichtenstein's alterations heightened the sense of urgency in the image, however, they also offset that menace by forming a detached work.<ref name=PAES/> A November 1963 ''Art Magazine'' review stated that this was one of the "broad and powerful paintings" of the 1963 exhibition at Castelli's Gallery.<ref name=RLOF4/>

==See also==