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Utilisateur:Teachix/Brouillon

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Traduction pour Torpedo...Los!

Historique modifier

The source of the image is Jack Abel's art in the Bob Haney-written story "Battle of the Ghost Ships?", in DC Comics' Our Fighting Forces #71 (October 1962), although the content of the speech balloon is different[1][2][3]. Selon le site Internet de la Fondation Lichtenstein, Torpedo...Los! fait partie de la deuxième exposition personnelle de Lichtenstein à la galerie Leo Castelli du 28 septembre au 24 octobre 1963, qui comprenait Drowning Girl, Baseball Manager (en), In the Car, Conversation, and Whaam![4][5]. Les documents de promotion de l'exposition comprenaient l'œuvre lithographique, Crak![6][7].

Le 7 novembre 1989, Torpedo...Los ! est vendue chez Christie's pour 5,5 millions de dollars (13,5 millions de dollars américains en 2023)au marchand zurichois Thomas Ammann, ce qui constitue un record pour une œuvre de Lichtenstein[8]. The sale was described as the "highpoint" of a night in which Christie's achieved more than double the total sales prices of any other contemporary art auction up to that date[9]. The seller of the work was Beatrice C. Mayer, the widow of Museum of Contemporary Art, Chicago founder and board member Robert B. Mayer as well as daughter of Sara Lee Corporation founder Nathan Cummings[10][11]. Prior to the sale the work was part of the Robert B. Mayer Memorial Loan Program and was exhibited at colleges and museums[10]. Torpedo...Los! was expected to sell for $3 to 4 million at the time[10]. In 1991, Mayer became one of the key benefactors of the new Museum of Contemporary Art Building[12].

Description modifier

Measuring 172 x 208, Torpedo...Los! is an oil on canvas painting.[3] By enlarging the face of the captain relative to the entire field, Lichtenstein makes him more prominent than in the source.[2] He retained the source's "clumsiness" in how the secondary figure is presented and replaced the dialogue with a much shorter "cryptic command".[2] The original source had dialog related to the repeated torpedoing of the same ship, but Lichtenstein cut the entire speech balloon down to two words. He moved the captain's scar from his nose to his cheek and he made the captain appear more aggressive by depicting him with his mouth wide open, also opting to leave the eye which was not looking through the periscope open. He also made the ship appear to be more technologically sophisticated with a variety of changes.[13] The scar was actually most readily apparent in panels other than the source from the same story.[14]

This work exemplifies Lichtenstein's theme relating to vision. Lichtenstein uses a "mechanical viewing device" to present his depiction of technically aided vision.[15][16] The depicted mechanical device, a periscope in this case, forces the vision into a monocular format.[17] In some of his works such as this, monocularity is a strong theme that is directly embodied although only by allusion.[18] Michael Lobel notes that "...his work proposes a dialectical tension between monocular and binocular modes of vision, a tension that operates on the level of gender as well."[19] The work is regarded as one in which Lichtenstein exaggerated comic book sound effects in common pop art style.[20]

Reception modifier

This painting exemplifies Lichtenstein's use of the background/foreground shift and ironic colloquialisms in critical commands.[21] Although most of Lichtenstein's war imagery depicts American war themes, this depicts "a scarred German submarine captain at a battle station".[22] The manner of depiction with the commander's face pressed against the periscope reflects fusions of industrial art of the 1920s and 1930s.[23] 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.[24] 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.[25] Lichtenstein's alterations heightened the sense of urgency in the image, however, they also offset that menace by forming a detached work.[13] 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.[5]

  1. ↑ (en) « Our Fighting Forces #71 », sur Grand Comics Database (consulté le )
  2. ↑ a b et c Waldman 1993, p. 96–97, 104
  3. ↑ a et b « Torpedo...LOS! », Lichtenstein Foundation (consulté le )
  4. ↑ (en) « Chronology » [archive du ], Lichtenstein Foundation (consulté le )
  5. ↑ a et b Donald Judd, Roy Lichtenstein: October Files, 2–4, « Reviews 1962–64 »
  6. ↑ (en) « Search Result: CRAK! », LichtensteinFoundation.org (consulté le )
  7. ↑ (en) Michael Lobel, Roy Lichtenstein, MIT Press, coll. « October Files », , 118–20 (ISBN 978-0-262-01258-4), « Technology Envisioned: Lichtenstein's Monocularity »
  8. ↑ (en) Reif, Rita, « A de Kooning Work Sets A Record at $20.7 Million », The New York Times, (consulté le )
  9. ↑ (en) Reif, Rita, « Art Prices Are Still Astonishing, But Fever Seems to Be Cooling », The New York Times, (consulté le )
  10. ↑ a b et c (en) Reif, Rita, « Auctions », The New York Times, (consulté le )
  11. ↑ (en) Gillespie, Mary, « Donors cite need for new art museum », Chicago Sun-Times, (consulté le )
  12. ↑ (en) Gillespie, Mary, « Trustees endow success of a new art museum », Chicago Sun-Times, (consulté le )
  13. ↑ a et b (en) Shanes, Eric, Pop Art, Parkstone Press International, (ISBN 978-1-84484-619-1), « The Plates », p. 97
  14. ↑ Lobel 2009, "Technology Envisioned: Lichtenstein's Monocularity", p. 117
  15. ↑ (en) Lobel, Michael, Roy Lichtenstein: All About Art, Louisiana Museum of Modern Art, (ISBN 87-90029-85-2), « Pop according To Lichtenstein », p. 85
  16. ↑ Lobel 2009, "Technology Envisioned: Lichtenstein's Monocularity", p. 120, "Like Torpedo...LOS! and CRAK!, each of these works contains the image of a mechanical aid to vision."
  17. ↑ Lobel 2009, "Technology Envisioned: Lichtenstein's Monocularity", p. 119
  18. ↑ Lobel 2009, "Technology Envisioned: Lichtenstein's Monocularity", p. 116
  19. ↑ Lobel 2009, "Technology Envisioned: Lichtenstein's Monocularity", p. 118
  20. ↑ (en) Brooker, Will, Batman Unmasked: Analyzing a Cultural Icon, Bloomsbury Academic, (ISBN 0826413439, lire en ligne), p. 182
  21. ↑ Waldman 1993, p. 97
  22. ↑ (en) Roy Lichtenstein, Praeger Publishers, (ISBN 0713907614), p. 40
  23. ↑ (en) Hendrickson, Janis, Roy Lichtenstein, Benedikt Taschen, (ISBN 3-8228-9633-0), « The Pictures That Lichtenstein Made Famous, or The Pictures That Made Lichtenstein Famous », p. 38
  24. ↑ (en) Pollack and After: The Critical Debate, second, (ISBN 0-415-22867-0), p. 141
  25. ↑ (en) Pop Art: A Critical History, University of California Press, (ISBN 0-520-21018-2), « Focus: The Major Artists », p. 205
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