Brattata

Brattata is a 1962 pop art painting by Roy Lichtenstein in his comic book style of using Ben-Day dots and a text balloon. The work is held in the collection at the Tehran Museum of Contemporary Art. It is one of several Lichtenstein works from All-American Men of War issue #89, but is a reworking of its source panel.

Not to be confused with Bratatat!.

Brattata
ArtistRoy Lichtenstein
Year1962
MovementPop art
Dimensions106.7 cm × 106.7 cm (42 in × 42 in)
LocationTehran Museum of Contemporary Art

Background
The source of Brattata is All-American Men of War #89 (j), January–February 1962, National Periodical Publications Inc. (DC).

According to the University of Michigan Library, at one time the work was held in the Fischmann collection.[1] St. Louis businessman and financeer, Milton Fischmann died in May 1974,[2] and the work is now in the collection of the Tehran Museum of Contemporary Art.[3] A trained draftsman and artist, Lichtenstein was a United States Army pilot who served in World War II without ever seeing active combat.[4][5] His list of aeronautical themed works is extensive. Within that genre, Lichtenstein has featured pilots situated in cockpits during air combat in many of his works, such as Jet Pilot (1962), Brattata (1962), Bratatat! (1963), and Okay Hot-Shot, Okay! (1963).[6] The source of Brattata is All-American Men of War #89 (January–February 1962, DC Comics).[7] The same issue was the inspiration for several other Lichtenstein paintings, Okay Hot-Shot, Okay!, Blam, Whaam! and Tex![8] The graphite pencil sketch, Jet Pilot was also from that issue.[9] The pilot's mask is unbuckled, revealing the lower half of his face (as opposed to Bratatat! and Jet Pilot where only the eyes are visible).[10] The onomatopoeia presented graphically appears as a cliché.[11] In comparison to the original Lichtenstein increased the required number of downed planes for flying ace recognition by two,[12] possibly reflecting his own training.

Critical appraisal
Lichtenstein in 1967

The work is among those known for "bursting shapes and colors" in its graphical content and excellent sound and action in its narrative content.[13] It is one of several Lichtenstein works that depicts what one author describes as a "male violence fantasy".[14]

Original artwork artist Russ Heath had accurately depicted the downward slanting gun sight and angled cockpit control panel. Lichtenstein depicted these without any slant, making them parallel to the surface of the canvas, which in a sense makes the viewer feel as if he is taking the place of the pilot.[15]

See also

Sources
  1. "LICHTENSTEIN, ROY; Brattata; 1962". Regents of the University of Michigan. Retrieved July 15, 2013.
  2. "Benefactor's Death Clouds Dinner Program". Sarasota Journal. Retrieved July 15, 2013.
  3. "Lichtensteins in Museums". LichtensteinFoundation.org. Archived from the original on June 6, 2013. Retrieved June 22, 2013.
  4. "Chronology". Roy Lichtenstein Foundation. Archived from the original on June 6, 2013. Retrieved June 9, 2013.
  5. McCarthy, David (2004). H.C. Westermann at War: Art and Manhood in Cold War America. University of Delaware Press. p. 71. ISBN 087413871X.
  6. Pisano, Dominick A., ed. (2003). The Airplane in American Culture. University of Michigan Press. p. 275. ISBN 0472068334.
  7. "Brattata". LichtensteinFoundation.org. Retrieved June 24, 2013.
  8. Armstrong, Matthew (Autumn 1990). "High & Low: Modern Art & Popular Culture: Searching High and Low". 2 (6). Museum of Modern Art: 4–8, 16–17. JSTOR 4381129. Cite journal requires |journal= (help)
  9. "Jet Pilot". LichtensteinFoundation.org. Retrieved June 24, 2013.
  10. Lobel, Michael (2009). "Technology Envisioned: Lichtenstein's Monocularity". In Bader, Graham (ed.). Roy Lichtenstein. MIT Press. p. 120. ISBN 978-0-262-01258-4.
  11. Foster, Hal (2009). "Pop Pygmalion". In Bader, Graham (ed.). Roy Lichtenstein. MIT Press. p. 157. ISBN 978-0-262-01258-4.
  12. Madoff, Steven Henry, ed. (1997). Pop Art: A Critical History. University of California Press. pp. 204–5. ISBN 0-520-21018-2.
  13. Johnson, Ellen H. (1995). Modern Art and the Object: A Century of Changing Attitudes. Westview. p. 178. ISBN 0064302261.
  14. Zinman, Toby Silverman, ed. (1991). David Rabe: A Casebook. Garland. p. 36. ISBN 0824070798.
  15. Lobel, Michael (2002). Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art. Yale University Press. pp. 121–122. ISBN 0300087624.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.