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Whaam!
Artist	Roy Lichtenstein
Year	1963
Type	Pop art
Location	Tate Modern, London

Whaam! is a 1963 diptych painting by late 20th century American artist Roy Lichtenstein. A prominent example of pop art, it is widely regarded as one of Lichtenstein's most important and influential works. It was exhibited at the Leo Castelli Gallery in New York City in 1963, and purchased by the London Tate Gallery in 1966. It has been exhibited at Tate Modern since 2006.

Whaam! portrays an explosion of flames as a fighter plane successfully shoots down another plane with an air-to-air missile. Lichtenstien based the image on elements of panels of several comic-book stories. He transformed his primary prototype—a single panel from a war comic book published in 1962—by dividing the composition into two panels and altering the relationship of the graphical and narrative elements. The work is admired for the temporal, spatial and psychological unity of its two panels, which Lichtenstein conceived as a contrasting pair. The painting's title is displayed in the large onomatopoeia in the right panel.

Lichtenstein studied as an artist before and after serving in the United States Army in World War II. He practiced anti-aircraft drills in basic training, then was sent to pilot training but the program was canceled. He went on to create a broad array of military art, and depicted aerial combat in several works. Whaam! is part of a series on war that he worked on between 1962 and 1964, and with As I Opened Fire (1964) is one of Lichtenstein's two large war-themed paintings.

Background

Lichtenstein left Ohio State University, where he was studying painting and drawing, to serve in the United States Army between February 1943 and January 1946—during and after World War II. After entering training programs for languages, engineering, and piloting, all of which were canceled, he served as an orderly, draftsman, and artist in noncombat roles. Among his duties as an orderly at Camp Shelby was enlarging Bill Mauldin's Stars and Stripes cartoons. He was sent to Europe with an engineer battalion, but did not see active combat.

Lichtenstein completed his Master of Fine Arts degree in 1949, and for several years painted in a style influenced by European modernists such as Paul Klee and Joan Miró before eventually adopting an abstract-expressionist style with parodist elements. About 1958, he began incorporating hidden images of cartoon characters such as Mickey Mouse and Bugs Bunny into his abstract works. In 1961, he abandoned expressionism and painted Look Mickey, his first pop art painting. Within a few years Lichtenstein's comics-based works took up serious themes such as romance and war.

At the time, comic books as a genre were despised in the US. Public antipathy had led to Senate investigations in the early 1950s that studied connections between comics and juvenile delinquency; by the end of that decade, comic books were regarded as material of "the lowest commercial and intellectual kind", according to Mark Thistlethwaite of the Modern Art Museum of Fort Worth. Lichtenstein was not a comic-book enthusiast as a youth, but was enticed as an artist by the challenge of creating art based on a subject that was remote from the typical "artistic image". Lichtenstein said that at the time, "I was very excited about, and very interested in, the highly emotional content yet detached impersonal handling of love, hate, war, etc., in these cartoon images."

Lichtenstein's romance and war comic-based works took comic book heroic subjects from a small panel on the page and depicted them on a monumental scale. Whaam! is comparable in size to the generally large canvases painted at that time by the abstract expressionists. It is one of Lichtenstein's many works with an aeronautical theme. When discussing these works he stated that "the heroes depicted in comic books are fascist types, but I don't take them seriously in these paintings—maybe there is a point in not taking them seriously, a political point. I use them for purely formal reasons."

History

Whaam! adapts a comic-book panel drawn by Irv Novick from the "Star Jockey" story from issue #89 of DC Comics' All-American Men of War (January–February 1962). The original panel is part of a dream sequence in which fictional World War II P-51 Mustang pilot Johnny Flying Cloud, "the Navajo ace", foresees himself flying a jet fighter in the future, shooting down other jet planes. In Lichtenstein's painting, both the attacking plane and the target plane have been replaced by different aircraft. Paul Gravett suggests that Lichtenstein substituted the attacking plane from the story "Wingmate of Doom" illustrated by Jerry Grandenetti in the subsequent issue (#90, March–April 1962), and that he may have substituted the target plane with a Russ Heath drawing from page 3, panel 3 of the "Aces Wild" story in the same issue #89. The painting also omits the speech bubble from the source in which the pilot exclaims "The enemy has become a flaming star!"

A smaller, single-panel oil painting made by Lichtenstein around the same time, Tex!, has a similar composition, with a similar plane at the lower left shooting a missile at a second plane that is exploding in the upper right, with a word bubble. The same issue of All American Men of War was the inspiration for at least three other Lichtenstein paintings, Okay Hot-Shot, Okay!, Brattata and Blam, in addition to Whaam! and Tex! The graphite pencil sketch, Jet Pilot was also from that issue. Several of Lichtenstein's other comics-based works are inspired by stories about Johnny Flying Cloud written by Robert Kanigher and illustrated by Novick, including Okay Hot-Shot, Okay!, Jet Pilot and Von Karp.

Lichtenstein held his first solo exhibition at the Leo Castelli Gallery in New York City, from February 10 to March 3, 1962. It sold out before its opening. The exhibition included Look Mickey, Engagement Ring, Blam and The Refrigerator. According to the Lichtenstein Foundation website, Whaam! was part of Lichtenstein's second solo exhibition at the Leo Castelli Gallery from September 28 to October 24, 1963, that also included Drowning Girl, Baseball Manager, In the Car, Conversation, and Torpedo...Los!. Marketing materials for the show included the lithograph artwork, Crak!

Throughout the 1960s, Lichtenstein repeatedly depicted aerial combat between the United States and the Soviet Union. In the early and mid-1960s, he produced "explosion" sculptures, taking subjects such as the "catastrophic release of energy" from paintings such as Whaam! and depicting them in freestanding and relief forms. In 1963, Lichtenstein was parodying a variety of artworks, from "low art" commercial illustrations and comics and to "high art" modern masterpieces by Cézanne, Mondrian, Picasso and others. At this time in his career, Lichtenstein noted that "the things that I have apparently parodied I actually admire." Although the Lichtenstein Foundation website says that Lichtenstein did not begin using his opaque projector technique until the autumn of 1963, Lichtenstein described his process for producing comics based art as follows:

As directly as possible ... From a cartoon, photograph or whatever, I draw a small picture—the size that will fit into my opaque projector ... I don't draw a picture to reproduce it—I do it in order to recompose it ... I project the drawing onto the canvas and pencil it in and then I play around with the drawing until it satisfies me.

Whaam! was purchased by the Tate Gallery in 1966. In 1969, Lichtenstein donated what he called a "pencil scribble", his initial graphite on paper drawing entitled Drawing for 'Whaam!'. According to the Tate, Lichtenstein claimed that "this was his first visualisation of Whaam! and that it was executed just before he started the painting." Although he had conceived of a unified work of art on a single canvas, he made the sketch on two equal sizes of paper—measuring 14.9 by 30.5 centimetres (5.9 in × 12.0 in). The painting has been displayed at Tate Modern since 2006. In 2012–13, both works were included in the largest-ever Lichtenstein retrospective that visited the Art Institute of Chicago, the National Gallery of Art in Washington, D.C., the Tate Modern in London and The Centre Pompidou. Richard Morphet, an art historian, was an assistant keeper at the Tate at the time that Whaam! was being contemplated for acquisition. Morphet suggested as justification for buying Whaam! that the painting seemed to address several issues at the same time: "history painting, Baroque extravagance, and the quotidian phenomenon of mass-circulation comic strips."

Description

Whaam! depicts a fighter aircraft in the left panel firing a rocket into an enemy plane in the right panel, which disintegrates in a red-and-yellow explosion. The cartoon style is emphasized by the use of the onomatopoeic lettering "WHAAM!" in the right panel, and a yellow-boxed caption with black lettering at the top of the left panel. The textual exclamation "WHAAM!" can be considered the graphic equivalent of a sound effect (other onomatopoeic works by Lichtenstein include Bratatat! and Varoom!).

One of Lichtenstein's series of war images, it combines vibrant colors with a narrative expression. The painting is large in scale, measuring 1.7 m × 4.0 m (5 ft 7 in × 13 ft 4 in). Whaam! is less abstract than As I Opened Fire, another of his war scenes. Lichtenstein employed his usual comic-book style: stereotyped imagery in bright primary colors with black outlines, and extensive use of mechanical printer's Ben-Day dots. Whaam! departs from Lichtenstein's earlier works such as Step-on-Can with Leg and Like New, in that the panels are not two variations of the same image.

Although Lichtenstein was inspired by, and strove to remain faithful to, the source images, he made the paintings in a traditional way, starting with a sketch which he adjusted to improve the composition and then projected on to a canvas to make the finished painting. In the case of Whaam!, the sketch is on two pieces of paper, and the finished work is painted with Magna acrylic and oil paint on canvas. Although the transformation from a single-panel conception into a diptych painting occurred during the initial sketch, the final work varies from the sketch in several ways. The sketch suggests that the "WHAAM!" motif would be colored white, although it is yellow in the finished work. Lichtenstein enlarged the main graphical subject of each panel (the plane on the left and the flames on the right), bringing them closer together as a result.

The technique that Lichtenstein employed for this painting involved painting with layers that took enough time to dry that their shape and color could be manipulated. The paint was applied using a scrub brush and handmade metal screen to produce Ben-Day dots via a process that left physical evidence behind. The Ben-Day dots technique enabled Lichtenstein to give his works a mechanically reproduced feel. Lichtenstein said that the work is "supposed to look like a fake, and it achieves that, I think". The use of these dots, which were invented by Benjamin Day to "recreate gradations of shading", was considered Lichtenstein's "signature method".

Lichtenstein split the composition of the original single panel into two to reinforce separation of action and result. The left panel features the attacking plane—placed at a diagonal to create a sense of depth—below the text balloon, which Lichtenstein has relegated to the margin above the plane. In the right panel, the exploding plane—depicted head-on—is outlined by the flames, accompanied by the bold exclamation "WHAAM!". Although separate, with one panel containing the missile launch and the other its explosion, representing two distinct events, the two panels are clearly linked spatially and temporally, not least by the horizontal smoke trail of the missile. Lichtenstein commented on this piece in a July 10, 1967, letter: "I remember being concerned with the idea of doing two almost separate paintings having little hint of compositional connection, and each having slightly separate stylistic character. Of course there is the humorous connection of one panel shooting the other."

Lichtenstein altered the composition to make the image more compelling, by making the exploding plane more prominent compared to the attacking plane than in the original. The smoke trail of the missile has become a horizontal line. The flames of the explosion dominate the right panel, but the pilot and the airplane in the left panel are the narrative focus. They exemplify Lichtenstein's painstaking detailing of physical features such as the aircraft's cockpit. The other element of the narrative content is a text balloon that contains the following text: "I pressed the fire control ... and ahead of me rockets blazed through the sky ..." This is among the text believed to have been written by All-American Men Of War editor Kanigher. The yellow word "WHAAM!", altered from the red in the original comic-book panel and white in the pencil sketch, links the yellow of the explosion below it with the textbox to the left and the flames of the missile below the attacking plane.

Lichtenstein borrowed both comic book techniques and subjects, mimicking the style while adapting the subject matter. He explained that "Signs and comic strips are interesting as subject matter. There are certain things that are usable, forceful and vital about commercial art." He was attracted to using the cool, formal style to depict emotive subjects, leaving the viewer to interpret the artist's intention. He adopted a simplified color scheme and commercial printing-like techniques. The borrowed technique was "representing tonal variations with patterns of colored circles that imitated the half-tone screens of Ben Day dots used in newspaper printing, and surrounding these with black outlines similar to those used to conceal imperfections in cheap newsprint." Rebecca Bengal at PBS wrote that this is similar to the ligne claire style associated with Hergé. Lichtenstein once said of his technique: "I take a cliche and try to organize its forms to make it monumental."

Reception

Marla F. Prather notes that Whaam!'s grand scale and dramatic depiction make it a historic work of pop art. With As I Opened Fire, Lichtenstein's other monumental war painting, Whaam! is regarded as the culmination of Lichtenstein's dramatic war-comics works, according to Diane Waldman. It is widely described as either Lichtenstein's most famous work, or, along with Drowning Girl, as one of his two most famous works.

Whaam! was one of the key works exhibited in a major Lichtenstein retrospective in 2012–2013 that was designed, according to Li-mei Hoang, to demonstrate "the importance of Lichtenstein's influence, his engagement with art history and his enduring legacy as an artist". Andrew Edgar and Peter Sedgwick describe it, along with Warhol's Marilyn Monroe prints, as one of the most famous works of pop art. Gianni Versace once linked the two iconic pop art images via his gown designs. According to Douglas Coupland, the World Book Encyclopedia had pictures of Warhol's Monroes and Whaam! in the Pop art entry for illustration.

José Pierre says Whaam! represented Lichtenstein's 1963 expansion "into the 'epic' vein". A November 1963 Art Magazine review by Donald Judd called it one of the "broad and powerful paintings" of the 1963 exhibition at Castelli's Gallery. The Times in 1967 described the recent acquisition by the Tate of the "very large and spectacular painting" and Keith Roberts of The Burlington Magazine in 1968 described the explosion as combining "art nouveau elegance with a nervous energy reminiscent of Abstract Expressionism". According to authors Carol Strickland and John Boswell, one view is that by magnifying the comic book panels to an enormous size with dots, "Lichtenstein slapped the viewer in the face with their triviality." H. H. Arnason noted that Whaam! presented "... limited, flat colors and hard, precise drawing," which produced "... a hard-edge subject painting that documents while it gently parodies the familiar hero images of modern America." The flat and highly finished style of planned brushstrokes are pop art's retort to Expressionism.

Whaam! stands out from Lichtenstein's other comic-based works as the most successful and harmonious composition: the narrative and graphic elements are complementary; the senses of time and space are logical, the action from left to right; and the components are spatially aligned to emphasize the action. The ellipses of the text balloon present a progression which culminates with a "WHAAM!". The "coincidence of pictorial and verbal order" are clear for the Western viewer with the explanatory text beginning in the upper left and action vector moving from the left foreground to the right background, culminating in a graphical explosion in tandem with a narrative exclamation. Wendy Steiner says the striking incongruity of the two panels—the left panel appearing to be "truncated", while the right depicts a centralized explosion—enhances the work's narrative power.

In 2004, David McCarthy contrasted Lichtenstein's "dispassionate, detached and oddly disembodied" presentation of aerial combat with the treatment of similar subjects by H.C. Westermann, for whom the experience of military service in World War II brought out a need to horrify or shock the audience, while Lichtenstein registered his "comment on American civilization" by scaling up a comic book image to history painting dimensions. According to Laura Brandon, Lichtenstein sought in Whaam! to "portray the trivialization of culture endemic in contemporary American life" by depicting a shocking scene of combat as something banal in the era of the Cold War.

According to Ernst A. Busche, Lichtenstein's procedure entailed "the enlargement and unification of his source material ... on the basis of strict artistic principles" which included a "strengthening of the formal aspects of the composition, a stylization of motif, and a 'freezing' of both emotion and actions". Extracted from a larger narrative, the resulting stylized image became in some cases a "virtual abstraction". By recreating their minimalistic graphic techniques, Lichtenstein reinforced the artificial nature of comic strips and advertisements. Lichtenstein's magnification of his source material made his impersonally drawn motifs seem all the more empty. Busche also says that although a critique of modern industrial America may be read into these images, Lichtenstein "would appear to accept the environment as revealed by his reference material as part of American capitalist industrial culture".

It has been suggested that the painting belongs to the same anti-war genre as Picasso's Guernica, but this suggestion is dismissed by Bradford R. Collins: he considers it to be a revenge fantasy and vehicle for Lichtenstein's anger towards his first wife Isabel while they were in the middle of a bitter divorce battle (they separated in 1961, and divorced in 1965).

The comic book industry that inspired paintings such as Whaam! was, in turn, affected by the cultural impact of pop art. By the mid-1960s, some comic books were displaying a new emphasis on garish colors, emphatic sound effects, and stilted dialogue—the elements of comic book style that had come to be regarded as camp—in an attempt to appeal to older, college-age readers who appreciated pop art. Gravett observed that the "simplicity and outdatedness were ripe for being mocked".

The Tate Gallery controversially bought the work in 1966, paying art dealer Ileana Sonnabend £3,940 (£92,704 in 2024 currency) after rejecting her initial price of £4,665 (£109,763 in 2024 currency). Some of the museum's trustees opposed the acquisition, among them the sculptor Barbara Hepworth, the painter Andrew Forge, and the critic Herbert Read. The Tate's director, Norman Reid, later said that the work aroused more public interest than any acquisition since World War II. In 1968, Whaam! was included in the Tate's first solo exhibition of Lichtenstein's work. The exhibition, which attracted 52,000 visitors, was organized by the Stedelijk Museum in Amsterdam, which hosted the exhibition from November 4 – December 17, 1967 before it traveled to three other museums.

Critics have raised concerns over Lichtenstein's perceived improprieties, such as use of appropriation—borrowing of imagery from other sources— in Whaam! and other works of the period. Some have denigrated it as mere copying, to which others have countered that Lichtenstein altered his sources in significant, creative ways. To claims of plagiarism, the Roy Lichtenstein Foundation has noted that publishers have never sued for copyright infringement, and that they never raised the issue when Lichtenstein's comics-derived work first gained attention in the 1960s. Other criticism centers on Lichtenstein's failure to credit the original artists of his sources; Ernesto Priego implicates National Periodicals in the case of Whaam!, as the artists were never credited in the original comic books.

In Alastair Sooke's 2013 BBC4 documentary that took place in front of Whaam! at the Tate Modern, Dave Gibbons disputed Sooke's assertion that Lichtenstein's painting improved upon Novick's panel, saying: "This to me looks flat and abstracted, to the point of view that to my eyes it's confusing. Whereas the original has got a three-dimensional quality to it, it's got a spontaneity to it, it's got an excitement to it, and a way of involving the viewer that this one lacks." Gibbons has parodied Lichtenstein's derivation of the Novick work.

At the time of the 2013 Lichtenstein Retrospective at the Tate Modern, Adrian Searle of The Guardian—who was generally unenthusiastic about Lichtenstein's work—credited the work's title with accurately describing its graphic content: "Whaam! goes the painting, as the rocket hits, and the enemy fighter explodes in a livid, comic-book roar." Daily Telegraph critic Alastair Smart wrote a disparaging review in which he acknowledged Lichtenstein's reputation as a leading figure in "Pop Art's cheeky assault on the swaggering, self-important Abstract Expressionists", whose works Smart said Whaam! mimicked by its huge scale. Smart said the work was neither a positive commentary on the fighting American spirit nor a critique, but was notable for marking "Lichtenstein's incendiary impact on the US art scene".

Notes

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2. ^ McCarthy, David and Horace Clifford Westermann (2004). H.C. Westermann at War: Art and Manhood in Cold War America. University of Delaware Press. p. 71. ISBN 0-87413-871-X.
3. ^ Busche, Ernst A., "Roy Lichtenstein", Oxford Art Online.
4. Lobel, Michael (2002). Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art. Yale University Press. pp. 32–33. ISBN 0-300-08762-4.
5. Lobel, Michael (2002). Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art. Yale University Press. p. 31. ISBN 0-300-08762-4.
6. ^ Lanchner, Carolyn (2009). Roy Lichtenstein. Museum of Modern Art. pp. 11–14. ISBN 0-87070-770-1.
7. ^ Thistlethwaite, Mark. "Mr. Bellamy". Modern Art Museum of Fort Worth. Retrieved 2013-07-15.
8. Brown, Mark (2013-02-18). "Roy Lichtenstein outgrew term pop art, says widow prior to Tate show: New insights come as most comprehensive show of artist's work ever attempted brings together 125 paintings and sculptures". The Guardian. Retrieved 2013-06-15.
9. Clark, Nick (2013-02-18). "Whaam! artist Roy Lichtenstein was 'not a fan of comics and cartoons'". The Independent. Retrieved 2013-06-15.
10. Schneckenburger, Honnef and Fricke Ruhrberg (2000). Ingo, Walter F. (ed.). Art of the 20th Century. Taschen. p. 321. ISBN 3-8228-5907-9.
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25. ^ Judd, Donald. "Reviews 1962–64". In Bader (ed.). p. 2. {{cite book}}: Missing or empty |title= (help) Cite error: The named reference "RLOF4" was defined multiple times with different content (see the help page).
26. Marquis, Alice Goldfarb (2010). "The Arts Take Center Stage". The Pop! Revolution. MFA Publications. p. 37. ISBN 978-0-87846-744-0.
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29. Lobel, Michael. "Technology Envisioned: Lichtenstein's Monocularity". In Bader (ed.). pp. 118–20. {{cite book}}: Missing or empty |title= (help)
30. Alloway 1983, p. 56.
31. "Christie's to offer a Pop Art masterpiece: Roy Lichtenstein's Woman with Flowered Hat". ArtDaily. Retrieved 2013-06-07.
32. ^ "Roy Lichtenstein: Drawing for 'Whaam!' 1963". Tate Gallery. Retrieved 2013-07-18.
33. ^ Alley, Ronald (1981). Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists. London: Tate Gallery and Sotheby Parke-Bernet. p. 436. ISBN 0-85667-102-9. as cited in "Roy Lichtenstein: Drawing for 'Whaam!' 1963". Tate.org. Retrieved 2013-08-11.
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38. ^ Waldman. "War Comics, 1962–64". p. 105. {{cite book}}: Missing or empty |title= (help)
39. "The Report: Mr Roy Lichtenstein". MrPorter.com. 2013-02-12. Retrieved 2013-06-23.
40. Alloway 1983, p. 20.
41. ^ Strickland, Carol and John Boswell (2007). The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern. Andrews McMeel Publishing. p. 174. ISBN 0-7407-6872-7.
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47. Coplans 1972, p. 39: "... Whaam I (1963), on the other hand, is a diptych with a clearly linked pictorial narrative ..."
48. Coplans 1972, p. 164.
49. Lobel, Michael. "Technology Envisioned: Lichtenstein's Monocularity". In Bader (ed.). pp. 123–24. {{cite book}}: Missing or empty |title= (help)
50. Gravett, Paul (2002-05-31). "Robert Kanigher: The man who put Sergeant Rock in a hard place". The Guardian. Retrieved 2013-07-28.
51. ^ Priego, Ernesto (2011-04-04). "Whaam! Becoming a Flaming Star". The Comics Grid, Journal of Comics Scholarship. Retrieved 2013-07-28. Cite error: The named reference "WBaFS" was defined multiple times with different content (see the help page).
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55. Waldman. "War Comics, 1962–64". p. 95. {{cite book}}: Missing or empty |title= (help)
56. Rice-Oxley, Mark (2004-03-19). "Pop Art's one-hit wonder gets another look". Christian Science Monitor. Retrieved 2013-08-09.
57. Jones, Jonathan (2012-05-09). "Whaam! Prepare to be hit by Roy Lichtenstein's finest comic book hour". The Guardian. Retrieved 2013-08-09.
58. Evans, Mike Ed (2008). Defining Moments in Art. Cassell Illustrated. p. 515. ISBN 1-84403-640-5.
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62. Edgar, Andrew and Peter Sedgwick (1999). Sedgwick, Peter and Andrew Edgar (ed.). Key Concepts in Cultural Theory. Routledge. p. 190. ISBN 978-0-203-98184-9.
63. Ball, Deborah (2011). House of Versace: The Untold Story of Genius, Murder, and Survival. Crown Publishing Group. ISBN 978-0-307-40652-1. He translated one of Roy Lichtenstein's most famous paintings by putting giant letters spelling "WHAAM!" on a yellow clevore evening gown. He adorned a silk halter-neck gown with Andy Warhol's celebrated images of Marilyn Monroe ...
64. Teachout, Terry (2003-08-06). "Andy Warhol: 15 Minutes And Counting". The Wall Street Journal. Retrieved 2013-08-09.
65. Pierre, José (1977). An Illustrated History of Pop Art. Eyre Methuen. p. 91. ISBN 0-413-38370-9.
66. "Spectacular piece of Pop art". The Times. No. 56829. 1967-01-03. p. 6, col E.
67. Roberts, Keith (February 1968). "Current and Forthcoming Exhibitions: London". The Burlington Magazine. pp. 107–108. Retrieved 2013-07-19.
68. Arnason, H. H. (1986). "Pop Art, Assemblage, and Europe's New Realism". History of Modern Art (third ed.). Prentice Hall, Inc./Harry N. Abrams, Inc. p. 458. ISBN 0-13-390360-5.
69. ^ Steiner, Wendy (1987). Pictures of Romance: Form against Context in Painting and Literature. University Of Chicago Press. pp. 161–64. ISBN 0-226-77229-2.
70. Brandon, Laura (2007). Art and War. I. B. Tauris. p. 84. ISBN 1-84511-236-9.
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79. Searle, Adrian (2013-02-18). "Roy Lichtenstein: too cool for school?". The Guardian. Retrieved 2013-06-15.

References

• Alloway, Lawrence (1983). Roy Lichtenstein. Abbeville Press. ISBN 0-89659-331-2. {{cite book}}: Invalid |ref=harv (help)
• Bader, Graham, ed. (2009). Roy Lichtenstein: October Files. MIT Press. ISBN 978-0-262-01258-4. {{cite book}}: Invalid |ref=harv (help)
• Coplans, John, ed. (1972). Roy Lichtenstein. Praeger Publishers. ISBN 978-0-7139-0761-2. {{cite book}}: Invalid |ref=harv (help)
• Waldman, Diane (1993). "War Comics, 1962–64". Roy Lichtenstein. Solomon R. Guggenheim Museum, Museum of Contemporary Art (Los Angeles, Calif.), Montreal Museum of Fine Arts. Solomon R. Guggenheim Museum. ISBN 0-89207-108-7. {{cite book}}: Invalid |ref=harv (help)

External links

• Lichtenstein Foundation website
• Tate main web page

• 1963 paintings
• Collection of the Tate
• Military art
• Paintings by Roy Lichtenstein