{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-c03aa079.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-517835be.css\" media=\"all\" /\u003e\n\u003cdiv data-title='A major retrospective of Lichtenstein opens' data-url='/boclips/videos/5c54c130d8eafeecae1505f7' data-video-url='/boclips/videos/5c54c130d8eafeecae1505f7' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nA major retrospective of Lichtenstein opens\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eLondon, UK, February 18, 20131. Various of artist Roy Lichtenstein's \"Wham\" 2. Crash zoom out of Lichtenstein's painting showing close of fire from gun of a fighter plane 3. Various of paintings of fighter planes 4. Close zoom out to...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eLondon, UK, February 18, 2013\u003cbr/\u003e1. Various of artist Roy Lichtenstein's \"Wham\" \u003cbr/\u003e2. Crash zoom out of Lichtenstein's painting showing close of fire from gun of a fighter plane \u003cbr/\u003e3. Various of paintings of fighter planes \u003cbr/\u003e4. Close zoom out to wide of \"sunrise\" (1965)\u003cbr/\u003e5. Wide of \"Sunset\" (1964)\u003cbr/\u003e6. Close tilt down of seascape \u003cbr/\u003e7. Various of \"Oh Jeff I love you too...But...\"\u003cbr/\u003e8. Various of \"Drowning Girl\" (1963)\u003cbr/\u003e9. Various of exhibition curator Sheena Wagstaff looking at paintings \u003cbr/\u003e10. SOUNDBITE: (English), Sheena Wagstaff, curator Lichtenstein Retrospective, Tate Modern\u003cbr/\u003e\"Most of the issues were to do with the fact that he was dipping into popular culture. He was taking a very ubiquitous, kind of down moded form of comic strip and seemingly reiterating it, just  making a facsimile of it. In fact he wasn't doing that at all.\"\u003cbr/\u003e11. Various of man looking at \"Look Mickey\" painting (1961)\u003cbr/\u003e12. Wide of bust of a woman and black and white paintings of a tyre and golf ball\u003cbr/\u003e13. Close of bust \u003cbr/\u003e14. Wide of gallery with black and white paintings and bust \u003cbr/\u003e15. Close pan from cups and saucers with Lichtenstein's black and white design to gallery \u003cbr/\u003e16. Close of black and white painting of diamonds \u003cbr/\u003e17. SOUNDBITE: (English), Sheena Wagstaff, curator Lichtenstein Retrospective, Tate Modern\u003cbr/\u003e\"He was using as his sources, not just comic books, but also graphic illustrations from newspapers, black and white illustrations etcetera, which had already been, they were already reproductions of existing copies. In fact there was no original. What he was doing in that time is saying actually all of us have our daily lives, we encounter images that are already mediated and this is a way in which so called fine art can become a different form of  communication and yet at the same time, retain its identity as painting.\"\u003cbr/\u003e18. Wide of three paintings of Rouen Cathedral (1969)\u003cbr/\u003e19. Pan of cartoon paintings in gallery \u003cbr/\u003e20. Various of \"Masterpiece \" comic strip (1962)\u003cbr/\u003e21. SOUNDBITE: (English), Sheena Wagstaff, curator Lichtenstein Retrospective, Tate Modern\u003cbr/\u003e\"He's cocking a snook at the art world of that time as well, the sort of mwah, mwah kissing aspect of the art world and being fawned upon by people who think that you know the artist is predominant and wonderful, but at the same time of course it's also a trenchant comment on what was happening at that time. So he oscillates between tongue in cheek and just really enjoying it. I mean that's what's so great about this exhibition is (it's) joyful.\"\u003cbr/\u003e22. Various of sculptures \u003cbr/\u003e23. Wide pan of Lichtenstein's modernist paintings \u003cbr/\u003e24. SOUNDBITE: (English), Sheena Wagstaff, curator Lichtenstein Retrospective, Tate Modern\u003cbr/\u003e\"I think he's super relevant today because he was looking forward to what we now know as part of our lives which is social media, I mean not just a much more faster means of communication which includes design and fine art in ways which we could never have imagined before then. So I think he was prescient for his time, I think it still looks incredibly fresh, but we also need to remember that these are paintings and they are in a great tradition of painterly values and his great heroes were Matisse, Picasso and Cezanne. \u003cbr/\u003e25. Various of painting in the style of Mark Rothko \u003cbr/\u003e26. Various of painting in cubist style \u003cbr/\u003e27. Close of painting in the style of Picasso \u003cbr/\u003e28. Wide pan of gallery  \u003cbr/\u003e29 Various of sculptures and paintings \u003cbr/\u003e30. Various of later work featuring his own \"Look Mickey\"\u003cbr/\u003e31. Self portrait showing t-shirt and blank canvas \u003cbr/\u003e32. Wide pan around gallery showing late paintings \u003cbr/\u003eBlazing fighter pilots, weeping heroines and fantastical sunrises, they're all images which pop art grandee Roy Lichtenstein made his own, but a new exhibition reveals he's more than a comic book hero.\u003cbr/\u003eLondon's Tate Modern is opening a massive retrospective of the artist including his sculptures.  \u003cbr/\u003eWham, it's one of Roy Lichtenstein's most famous pieces.\u003cbr/\u003eComic strip dreams in gargantuan size.\u003cbr/\u003eBut this is no simple reproduction.\u003cbr/\u003eBy the time Lichtenstein took his paint brush to these he had already mastered a technique which was to become synonymous with the words 'pop art'.\u003cbr/\u003eHis sunrises and sunsets are renown, his landscapes are unmistakable.\u003cbr/\u003eThe detail in each tells a different story.\u003cbr/\u003eThe exhibition was curated by Sheena Wagstaff before she moved to New York.\u003cbr/\u003eWhen Lichtenstein first began, the art world didn't view these works as comments on our daily lives, rather a facsimile of images that surrounded us.\u003cbr/\u003eWagstaff says: \"Most of the issues were to do with the fact that he was dipping into popular culture. He was taking a very ubiquitous, kind of down moded form of comic strip and seemingly reiterating it, just  making a facsimile of it. In fact he wasn't doing that at all.\"\u003cbr/\u003eYou might not realise just how much Lichtenstein has touched our lives with his style.\u003cbr/\u003eThese cups for instance, the bold black and white tyre and the golf ball are all his.\u003cbr/\u003eWagstaff says: \"He was using as his sources, not just comic books, but also graphic illustrations from newspapers, black and white illustrations etcetera, which had already been, they were already reproductions of existing copies. In fact there was no original. What he was doing in that time is saying actually all of us have our daily lives, we encounter images that are already mediated and this is a way in which so called fine art can become a different form of  communication and yet at the same time, retain its identity as painting.\"\u003cbr/\u003eLichtenstein is also having a little fun of his own.\u003cbr/\u003eThis painting has a woman telling the artist: \"Why Brad darling this painting is a masterpiece! My soon you'll have all of New York clamouring for your work!\"\u003cbr/\u003eAccording to Wagstaff: \"He's cocking a snook at the art world of that time as well, the sort of mwah, mwah kissing aspect of the art world and being fawned upon by people who think that you know the artist is predominant and wonderful, but at the same time of course it's also a trenchant comment on what was happening at that time. So he oscillates between tongue in cheek and just really enjoying it. I mean that's what's so great about this exhibition is (it's) joyful.\"\u003cbr/\u003eTate Modern's retrospective is out to show us that there was a lot more to Lichtenstein than romancing heroines and battle pilots. \u003cbr/\u003eSculptures here are centre stage. \u003cbr/\u003eLichtenstein was classically trained, he taught art for a living so it's not surprising that the Tate has a number of paintings in the style of his heros.\u003cbr/\u003eThere are references to Picasso, Matisse and Cezanne, different styles are given a unique Lichtenstein interpretation.\u003cbr/\u003eEven his self portrait is a little surreal. \u003cbr/\u003eThese paintings refer to works by Henri Matisse.\u003cbr/\u003eBut here you can also see how far Lichtenstein has come.\u003cbr/\u003eLook closely at the wall on the painting which is reminiscent of Matisse's L'Atelier Rouge and you'll see Lichtenstein's earlier \"Look Mickey\" has an important place.     \u003cbr/\u003eThe Lichtenstein Retrospective opens 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