Roy Lichtenstein's work is, without a doubt, one of the most attractive for the general public: it is an entertaining and visually beautiful work where the viewer, whether or not he is an art connoisseur, can easily connect with the work of art, Lichtenstein's works have often been understood more as advertising images than as true canvases and yet if we appreciate his art from a more strictly artistic point of view, the works of this avant-garde presents a great complexity that is not always easy to unravel.
In the middle of the 20th century, a strong avant-garde movement began to develop, first in England and then in the United States, which distanced itself even further from traditional art and yet, unlike what happened with the other avant-garde movements, achieved easily reach the general public. Among the rising figures of this new artistic movement are two outstanding figures Andy Warhol and Roy Lichtenstein. On this occasion we find ourselves before a work by Lichtenstein that represents one of the most famous literary characters in the world Tintin.
In 1993, the artist made a small painting of Tintin for the novelist Frederich Tuten who intended to launch a book with the protagonist of Hergé's comics brought to life and having to face the problems of today's society. When Italian businessman Carlo Bilotti discovered theunique cover of Tuten's book, commissioned the artist to reproduce the work on a large-format canvas.
Thus we find a young and distinguished Tintin who reads the newspaper sitting in an armchair inside what we assume will be his house. His faithful friend, Milú the dog rests peacefully at the young man's feet while the door of the room opens slightly to make way for an onomatopoeia that alludes to some noise in the corridor while a mysterious dagger crosses the room. Lichtenstein's work captures one of the cultural and social icons of the time, Tintin was the literary reference for millions of young people throughout the 20th century and the artist uses his popularity to create a canvas where advertising resources such as bright colors and visually appealing finishes.
Special mention deserves the image of the canvas Matisse's Dance that Lichtenstein himself has placed inside his canvas, in a nod to the classical tradition of the painting within the painting Lichtenstein presents an emblematic work by the artist that will kick off all later avant-gardes. Thus, the artist reinterprets in a pop aesthetic -with thick lines for the contour, flat colors and a striped background- a traditional canvas easily combining tradition and modernity.
In short, we can affirm that in a painting that at first sight is banal, it takes the influence of a powerful culture: on the one hand the artist of the canvas, on the other the singular figure ofHergé creator of tintin and on the other the reinterpretation of a classic in Tuten's novel.