Life and Work of Roy Lichtenstein, Pop Art Pioneer

Roy Lichtenstein  (born Roy Fox Lichtenstein; October 27, 1923  Ã¢â‚¬â€œÃ‚  September 29, 1997) was one of the most prominent figures in the Pop Art movement in the United States. His use  of  comic book art as source material to create large-scale works in the Ben-Day dot method became a trademark of his work. Throughout his career, he explored art in a wide range of media, from painting to sculpture and even film. Fast Facts: Roy Lichtenstein Occupation:  ArtistBorn:  October 27, 1923 in New York City, New YorkDied:  September 29, 1997 in New York City, New YorkEducation:  Ohio State University, M.F.A.Notable Works:  Masterpiece  (1962),  Whaam!  (1963),  Drowning Girl (1963),  Brushstrokes  (1967)Key Accomplishments:  American Academy of Arts and Letters (1979), National Medal of the Arts (1995)Spouse(s):  Isabel Wilson (1949-1965), Dorothy Herzka (1968-1997)Children:  David Lichtenstein, Mitchell LichtensteinFamous Quote:  I like to pretend that my art has nothing to do with me. Early Life and Career Born and raised in New York City, Roy Lichtenstein was the oldest child of an upper-middle-class Jewish family. His father, Milton Lichtenstein, was a successful real estate broker, and his mother Beatrice was a homemaker. Roy attended public school until he was 12  years old. He then attended a private college preparatory high school until he graduated in 1940.   Lichtenstein discovered his love of art in school. He played piano and clarinet, and was a  fan of jazz music. He  often drew images of jazz musicians and their instruments. While in high school, Lichtenstein enrolled in summer classes of the Art Students League of New York City, where his primary mentor was the painter Reginald Marsh. In September 1940, Roy entered Ohio State University, where he studied art and other subjects. His primary influences were Pablo Picasso and Rembrandt, and he  often stated that Picassos Guernica was his favorite painting. In 1943, World War II interrupted Roy Lichtensteins education. He served for three years in the U.S. Army and continued as a student at Ohio State University in 1946 with assistance from the G.I. bill. Hoyt L. Sherman, one of his professors, had a significant influence on the young artists future development. Lichtenstein earned his Master of Fine Arts from Ohio State in 1949. Early Success Lichtenstein had his first solo show in New York City in 1951,  years after he graduated from Ohio State. His work at the time fluctuated between Cubism and Expressionism. He moved to Cleveland, Ohio, for six years, then in 1957 returned to New York, where he briefly dabbled in abstract expressionism. Lichtenstein took a position teaching at Rutgers University in 1960. One of his colleagues, Alan Kaprow, a pioneer of performance art, became a new significant influence. In 1961, Roy Lichtenstein produced his first pop paintings. He incorporated the comic style of printing with Ben-Day dots to create the painting Look Mickey, featuring the characters Mickey Mouse and Donald Duck. Reportedly, he was responding to a challenge by one of his sons, who pointed at Mickey Mouse in a comic book and said, I bet you cant paint as good as that, eh, Dad? In 1962, Lichtenstein had a solo show at the Castelli Gallery in New York City. All of his pieces were purchased  by influential collectors before the show even opened. In 1964, amid his growing fame, Lichtenstein resigned from his faculty position at Rutgers to concentrate on his painting. Emergence as a Pop Artist   In 1963, Roy Lichtenstein created two of the best-known works of his entire career: Drowning Girl and Whaam!, both of which  were adapted from DC comic books. Drowning Girl, in particular, exemplifies his  approach to creating pop art pieces out of existing comic art. He cropped the original image to make a new dramatic statement, and  used a shorter, and more direct, version of the text from the original comic. The massive increase in size gives the piece a very different impact from the original comic  book panel. Much like Andy Warhol, Lichtensteins work generated questions about the nature and interpretation of art. While some celebrated the audacity of his work, Lichtenstein was heavily criticized by those who argued that his pieces were empty copies of something that already existed. Life magazine ran an article in 1964 titled, Is He the Worst Artist in the U.S.? The relative lack of emotional engagement in his work was seen as a slap in the face to the soul-baring approach of abstract expressionism.   In 1965, Lichtenstein  abandoned the use of  comic book images as primary source material.  Some critics are still bothered by the fact that royalties were never paid to the artists who created the original images used in Lichtensteins large-scale works.   In the 1960s, Roy Lichtenstein also created cartoon-style works with Ben-Day dots that reinterpreted classic paintings by art masters, including  Cezanne, Mondrian, and Picasso. In the latter part of the decade, he created series of paintings that depicted comic-style versions of brushstrokes.  The works took the most elemental form of traditional painting and turned it into a pop art object, and were intended to be a send-up of abstract expressionisms emphasis on gestural painting. Later Life In 1970, Roy Lichtenstein bought a former carriage house in Southampton, Long Island, New York. There, Lichtenstein  built a studio and spent most of the rest of the decade out of the public spotlight. He included representations of his older works in some of his new paintings. Throughout the 1970s and early 1980s, he also worked on still lifes, sculptures, and drawings.   Late in his career, Lichtenstein received  commissions for large-scale public works. These works include the 26-foot  Mural with Blue Brushstrokes at New Yorks Equitable Center, created in 1984, and the 53-foot Times Square Mural for the New Yorks Times Square Bus Station, created in 1994. The corporate logo for Dreamworks Records, commissioned by David Geffen and Mo Ostin, was Lichtensteins last completed commission before his death. Lichtenstein died of pneumonia on  September 29, 1997  after several weeks of hospitalization. Legacy Roy Lichtenstein was one of the leading figures in the Pop Art movement. His method of turning ordinary comic strip panels into monumental pieces was his way of elevating what he felt were dumb cultural artifacts. He referred to pop art as industrial painting, a term that reveals the movements roots in mass production of common images.   The monetary value of Roy Lichtensteins work continues to increase. The  1962 painting Masterpiece  which sold for $165 million in 2017, features a cartoon bubble whose text is seen as a wry prediction of Lichtensteins fame: My, soon you will have all of New York clamoring for your work. Sources Wagstaff, Sheena.  Roy Lichtenstein: A Retrospective.  Yale University Press, 2012.Waldman, Diane.  Roy Lichtenstein. Guggenheim Museum Publications, 1994.

The Global Financial Crisis Has Caused A Massive...

The global financial crisis has caused a massive deterioration in public finances in the euro area. The 2009 recession severely curtailed public revenues and weighed heavily on the welfare state. In addition, states have boarded on bank bailouts and costly stimulus packages. In 2010, no country belonging to the euro area was able to comply with the Stability and Growth Pact (SGP). Public debt in the euro area increased from 65% to 85% of GDP between 2007 and 2010. This debt crisis was certainly foreseeable, but the difficulty with the debt of the states lies in the history that can be made for each country, notably Greece, Ireland, Spain, Italy and Portugal. In fact, all countries have followed different paths and today they are burdened with debts more or less important that have multiple causes. The common cause that has weighed in all states is the gradual weakening of economic growth. Beginning in the 1970s, with highs and lows, the euro area tends to grow less strongly, resulting in a limit on the resources of states to meet their needs. We also observe the widespread phenomenon in all Western countries and Japan, namely the demographic aging, which gives rise to additional burdens with which European states can not cheat, cease paying pensions or cease Care for elderly people who are sick and dependent. These are general factors to which are added factors such as the lack of awareness of the new competition of Asian and emerging countrie s, which affects both theShow MoreRelatedFactors That Affects The Global Economy And Its Impact On The Nigeria And Egypt Economy1568 Words   |  7 Pagesthe factors that affects the global economy and their impact on the Nigeria and Egypt economy. In 2007, the financial crisis, which later extended to the global financial crisis began in the United States of America. 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Scarlet Letter Images Free Essays

Joseph Gurke 10. 17. 2012 Ms. We will write a custom essay sample on Scarlet Letter Images or any similar topic only for you Order Now Boas P. 1 The Scarlet Letter Light, Dark, Sunlight and Shadows Throughout his entire life, Nathaniel Hawthorne had lived in seclusion from people and society, isolating himself and his thoughts behind a mysterious shade. This may explain why the themes of sin, secrecy and guilt are used in Hawthorne’s fiction, exploring hidden human dimensions. The images of sin, secrecy, and guilt are constantly portrayed in Nathaniel Hawthorne’s, The Scarlet Letter, through the presence of recurring motifs of light and dark, sunlight and shadows; as these themes aid the reader’s depiction of the separation between evil and goodness. Images of light are seen throughout the novel The Scarlet Letter. These images illuminate a character’s true intention and personality, yet at the same time, force a character to hide certain aspects of his personality while under the public eye. The view of Hester on the scaffold, when she is receiving her punishment for adultery in front of the public eye, the image of light illuminates her scarlet letter and sin; liberating Hester from public judgment and the pain of concealing sin, â€Å"Those who had before known her, and had expected to behold her dimmed and obscured by a disastrous cloud, were astonished, and even startled, to perceive how here beauty shown out, and made a halo of the misfortune and ignominy in which she was enveloped. † (49). The fact the Hester’s sin is known to all and that she is stands tall with her baby in her arms and the scarlet letter on her chest shows that she no longer needs to conceal anything from the public eye, â€Å"And never had Hester Prynne appeared more lady-like, in the antique interpretation of the term, than as she issued from the prison. † (49). After being revealed to the public, Hester must now live in isolation with nature, self-reliance and non-conformity being the ethics in her life; yet having the relief of wearing sin on her chest. Sunlight is a naturally occurring light and one that reflects goodness and pureness in characters. It is a positive image, representing cleanliness and lack of sin in this novel. When in the forest with Pearl, the sunlight avoids Hester completely while she carries the scarlet letter on her chest, â€Å"Mother,† said little Pearl, â€Å"the sunshine does not love you. It runs away and hides itself, because it is afraid of something on your bosom. . . . It will not flee from me; for I wear nothing on my bosom yet! †(161). When she removes the letter, sunlight flows into the forest, bringing everything to light and removing any shadows present, â€Å"So speaking, she undid the clasps that fastened the scarlet letter, and, taking it from her bosom, through it to a distance among the withered leaves. † (191) â€Å"All at once, as with the sudden smile of heaven, forth burst the sunshine, pouring a very flood into the obscure forest, gladdening each green leaf, transmuting the yellow fallen ones to gold, and gleaming adown the grey trunks of the solemn trees. The objects that had made a shadow hitherto, embodied the brightness now. †(191). The sunlight represents cleanliness; washing sin, secrecy and guilt from characters, allowing them to feel a sense of freedom, â€Å"Her sex, her youth, and the whole richness of her beauty†¦Ã¢â‚¬  (190). With the absence of the scarlet letter, sunlight floods the forest and surrounding area around Hester and Dimmesdale, removing any shadows, which represent evil and bondage, and with this flood of sunshine comes a new feeling of freedom for both, exactly what sunshine represents in the text, â€Å"And as if the gloom of the earth and the sky had been but the effluence of those two mortal hearts, it vanished with their sorrow. (190). Darkness is a constant theme in this novel, representing guilt, sin and secrecy, major themes that Nathaniel Hawthorne incorporates into his literature. Dimmesdale, Hester and Pearl meet on the scaffold, under the darkness of night and shadows, the only time that Dimmesdale can express his sin and evil, â€Å"Mr. Dimmesdale reached the spot wher e, now so long since, Hester Prynne had lived through her first hours of public ignominy. † (133). The scaffold shows the irony of Hester and Dimmesdale’s situation because Hester, in the daylight reveals her sin to the town and could be freed from the bondage of hiding sin, and now Dimmesdale, after seven years is revealing his sin on the scaffold to only Hester at night, still feeling the pain of bondage and concealment of this sin. It is the only time that Dimmesdale, Hester’s lover and Pearl’s father ever embraces them and can openly reveal his sin, but the darkness does not allow him to be free. The minister felt for the child’s other hand and took it. The moment that he did so, there came what seemed tumultuous rush of new life, other life than his own, pouring like a torrent into his heart, and hurrying through his veins, as if the mother and child were communicating their vital warmth to his half-torpid system. The three formed and electrical chain. † (142). This love that the minister feels frees him of his bondage and cleanses his soul for a moment in time, yet this moment is enveloped back by the surrounding darkness that takes all hope of escape from him. Hester experienced this escape on the same scaffold that they are on yet in the light that allowed her to live the rest of her life without this bondage to sin, that under darkness, the minister cannot be free. Light, dark, shadows and sunlight, are all motifs that Nathaniel Hawthorne uses to describe different types of emotions in the text. Light and its more natural form in sunlight reflect the goodness in characters and the ability to be free from bondage with nothing holding you back, no pain of concealing sin. While one the other hand darkness and shadows allow the characters to reflect their emotions and reveal sin, but under darkness these emotions and secrets will not reach anyone else and will keep characters like Dimmesdale in bondage and pain. Works Cited Hawthorne, Nathaniel. The Scarlet Letter. New York: Bantam Books, 1986. Print. How to cite Scarlet Letter Images, Essay examples

Commercial Law for Law Vision Pty Ltd-myassignmenthelp.com

Question: Discuss about theCommercial Law for Law Vision Pty Ltd. Answer: Facts There is a specific brand of chocolate bar to which Tamara is highly addicted and, which is sold by only one retailer, Aldi Supermarkets. She goes to the Aldi Supermarket every day to purchase her favorite chocolate bar but, it is time and again sold out. Due to this reason, she used to get very upset. On one wet Saturday morning in January, Tamara was as usual passed through her local Aldi Supermarket when she saw from far end of the lane that there was only one chocolate bar left for sale at the market. As she was addicted to that chocolate, she ran towards the shop to purchase that chocolate bar. However, there was one more purchaser of chocolate at the end of the lane seeing whom, Tamara ran even faster in order to purchase the chocolate bar towards the shop. As she was rushing towards the chocolate bar, she slid over a puddle of melted ice cream due to which, her back got harshly injured. She had to spend several months in hospital for the purpose of recovering her health and mo re than $700,000. Although, Aldi Supermarkets had the proof that a staff member inspects the passage area of the supermarket every 40 minutes for the cleaning purposes. Issue Tamara wishes to litigate Aldi Supermarkets in negligence for the losses she suffered. Relevant Law and Applicability In Australia, the tort of negligence is measured as a legal act that can be taken by an individual to whom a wrongful acts done by the offender owing a reasonable duty of care. Accountability of the offender rises when duty to take care is recognized and it has also been established that due to breach of due care, significant damage has been caused to the complainant. There must be the establishment of three essentials by the injured party or the complainant under the tort of negligence in order to be efficacious namely duty of care, breach, and damage (Witting, 2007). It is measured as the duty of the offender to take reasonable care which is anticipated from him/her during negligent act made by him/her to the complainant. It is also to be recognized that the offender failed to take due care as anticipated while doing negligent act. Furthermore, it is also required to be established by the complainant that due to negligent act of the offender, injury has been caused to the complaina nt (ALRC, 2017). In Tamaras case, she can litigate Aldi Supermarkets for the tort of negligence. It is undoubtedlyapparent that there was a duty of reasonable care which was anticipated from the Aldi Supermarkets in order to maintain cleanliness to prevent such accidents as happened with Tamara. While staff of the supermarket checks the supermarket aisles after every 40 minutes for the purpose of cleanliness, they cannot get away from their liability of due care towards customers. A breach of duty has been established by the supermarket because there was melted ice cream on the floor and staff failed to notice it and approved mandatory standard of care which was to be taken on that occasion. Due to this negligent act of the staff of Aldi Supermarkets, Tamara got seriously injured because of slipping over it. Therefore, the act done by the supermarket should be considered as negligent because of meeting the above mentioned three essentials (Doepel Downie, 2006). The acts and omissions which can reasonably be predicted should also be taken into consideration. As it shows the negligence of the staff of Aldi Supermarket, the harm that had been occurred to Tamara might have been avoided by the appropriate performance of their duties. It was the duty of the staff to avoid such an act which should have been reasonably predicted by the staff that any spillage on the floor could cause harm to the customers(University of Western Australia, 2017). In Donoghue vs. Stevenson, the intention of the manufacturer was established that the drink should reach up to the customer sealed without being examined but it should have been assured by the manufacturer that harmful things should not have went into the bottles (Law Vision, 2008). It was the duty of the manufacturer to reasonably forecast the injury that could have been happened to the complainant in a case such a harmful thing would be taken by them, thus, it was concluded by the court that the manufactur er owed a duty of care to Mrs. Donoghue (Rule of Law Institute of Australia, 2012). Aldi Supermarkets claimed that their staff examines the Supermarket lanes in every 40 minutes. According to Section 5B(2) of Civil Liability Act of 2002, in determination of whether suitable precautions would have been taken by the offender as a reasonable being against the risk of destruction or injury, it is required to be taken into consideration by the court that the likelihood of the happening of harm if care had not been taken, the possible significance of the damage had occurred, defenses taken to avoid the destruction and social utility of the actions that might cause risk of damage or injury(Lexisnexis, 2006). In Tamaras case, it is reasonably obvious that due to any spillage over the floor in the Supermarket aisles, customers or any other person could have slip over it and can get hurt. Furthermore, the severity of injury cannot be determined as it depends on person to person because severe wounds might also occur to some of the individuals. Thus, preventive measures are an ticipated to be taken in the best interests of the Supermarket to avoid such accidents which have been caused to Tamara. To determine breach of duty of care, the court contemplates few factors which include foreseeability of risk which means, higher the risk, the more the efforts which are required by the offender to evade it(The University of Queensland, 2017). The court decides the rationality of the actions conducted by the offender also which might comprise of various factors which include the cost and burden enforced by eradicating the risk accompanied by social and public utility of the conducts of the offender. In Tamaras case, foreseeability is anticipated from the Aldi supermarket since there are various products which are sold by the market if get fallen over the floor might cause severe injuries to the customers. They cannot escape with their accountabilities by appealing that their staff take due care of the cleanliness but, they are anticipated to take standard care during any spillage on the floor because customers can get hurt promptly. Therefore, Tamara can litigate the supermarket and would be compensated by the supermarket. References ALRC, 2017. Authorising what would otherwise be a Tort. Australian Law Reform Commission, pp. 107-111. Doepel, M. Downie, C., 2006. A Comprehensive Guide to Tort Law Reform throughout Australia, s.l.: Kennedys. Law Vision, 2008. The Law of Torts, s.l.: Law Vision Pty Ltd . Lexisnexis, 2006. Civil Liability Australia. [Online] Available at: https://www.lexisnexis.com.au/en-au/products/civil-liability-in-australia.page[Accessed 19 May 2017]. Rule of Law Institute of Australia, 2012. Torts: Legal Wrongs and the Rule of Law. [Online] Available at: https://www.ruleoflaw.org.au/wp-content/uploads/2012/08/Video-2-Worksheet-Snails-Mice-and-Tort-Law-Qld.pdf[Accessed 19 May 2017]. The University of Queensland, 2017. Law of Torts (LAWS7002). [Online] Available at: https://www.uq.edu.au/study/course.html?course_code=LAWS7002 [Accessed 19 May 2017]. University of Western Australia, 2017. Don't Be Negligent - Find Out About Torts. [Online] Available at: https://guides.library.uwa.edu.au/torts [Accessed 19 May 2017]. Witting, C., 2007. Tort Law, Policy and the High Court of Australia. Melbourne University Law Review, Volume 31, p. 569.