Explicaciones del propio Lichtenstein a sus puntitos Sábado, 27 enero, 2007Posted by henryo in Arte.
But the dots in the Nudes series have a new characteristic, creating an undulation of light and space by flowing over several objects at a time, rather than being contained within the boundaries of a single object or outline. The dots function as both a two-dimensional pattern (overlay) and as a suggestion of three-dimensional space and form. As Lichtenstein told David Sylvester in 1997: “It’s a little bit the way chiaroscuro isn’t just shadows but a way of combining the figure and the background, or whatever’s near it in a dark area… You’re not confined to the object pattern, but the subject matter excuse for this is that it’s a shadow. And that’s interesting to me.”
Lichtenstein is quoted in a newspaper article in November 1994 as having said that the nude form itself is a “good excuse to contrast undulating and volumetric form with rigid geometry.” This same contrast of undulation and rigidity can be seen in the dot patterns themselves, which cause the picture space seemingly to undulate forward and away from the picture plane, while at the same time each dot is a precise geometric circle.
One final note regarding the method used to arrive at the total number of colours in a given print: because the same ink, when printed in two runs that overlap, will produce a different colour in the overlapping areas, Tyler Graphics counts each run as a separate colour, even though only one ink was used. As the workshop’s Barbara Delano has explained: “Our general rule is to count even the same colour if it appears in another run and overlaps because it will change the resulting layer colour slightly. (In fact, the subtlety of printmaking is the buildup of colour layers.) If you look at the print, you can see the difference in the areas where the (colours) are different because of the overlapping buildup. Not only does it build up the surface of density of the colour, but it also sits differently in the fibres of the paper.” However, for entries in this catalogue, the decision was made to base the colour count on the actual number of different-coloured inks used, so that the method used to count the colours would remain consistent for all entries throughout the catalogue. This is why, in some cases, one will find discrepancies in the number of colours when comparing these entries to the workshops’ documentation.