1959—Isabel Came to the Faculty Wive’s Dinner Dressed in Red Stockings and Caused Quite a Stir

IsabelRed Low
2019. Oil on canvas, 53 x 72″

The quote in the title came directly from my next door neighbor Helen who knew the Lichtensteins in the late 1950’s. Her husband, Ernie, was a physical education teacher and the soccer coach admitted the same semester and year as Roy—Fall, 1957.

For me this was a big oil adventure in a small studio space. Most days I wore a breathing mask, and on others I just sniffed Turpenoid® until I dreamed I was dozing in a hammock on Maui.

I built the frame, stretched the canvas, composed and painted the piece in 11 hours with a total cost of about 60 dollars, or .0923% of the families’ annual income. I could make 50 paintings this size a year at a cost of $3000 which translates to 4.61% of our total annual income. Actually, $3,000 has been my allotment for the last 10 years. I produce over 150 paintings a year, few ever reaching floor to ceiling proportions (like the one above), and all are done in acrylic which dries fast and stacks more efficiently than oil.

I have never made a financial profit from this endeavor. But I am beginning to see our investment give back exponentially.

In the fall of 1957 Roy Lichtenstein arrived in Oswego to live and teach. By the end of the year he had “completed” just 16 artworks. One 10″ woodcut for a magazine, four day sketches on paper, three mosaic tabletops, and 8 paintings. Gallant Scene II was his largest oil on canvas at 66 inches. For the year 1957, Roy was a painter like I am a Rochester commuter, a city in upstate NY that I visit about 8 times a year.

Lichtenstein graduated with an MFA from Ohio State University in 1949. His oeuvre from then to his arrival in Oswego consists mostly of U.S. history themes with an emphasis on painted stories of the wild west. (The Lichtenstein Foundation has a completed works timeline. Worth a visit.)

Actually, I love many of these paintings, even if several are based off the work of other artists (a pattern he will take up again for Pop). In future interviews Roy will say that he was working with a cubist style, mirroring Picasso, one of his favorite painters. When I look at this early to mid-1950’s work, I don’t see Picasso. I see how Roy Lichtenstein wanted to be known at the time. I also see great painting, and contrary to what one biographer insinuated, that the compositions were “meh” and the technique “meh-meh”, I feel many are far superior to his early 60’s Pop productions. Original, free, enthusiastic… the opposite of Pop.

In 1957 Roy was not a prolific painter. He was a husband and father of two little boys in a world much less freer than the one I live in today. His equally or more ambitious wife, Isabel, would never become the stable breadwinner of the family. The pressures of a suburban society were not going to allow Roy to paint all day using 4.61% of the family income. His society was so much more severe. In 1957 Oswego (or Cleveland), one did not strike up a conversation at the supermarket check out and declare that he paints, not for a living, (not even for joy), and that the wife takes care of all that money nonsense.

Pressures were on Isabel too. See? She wore red stockings to long skirt events.

 

Acrylic Study For a Very Long Oil Title

oswegonian1958.jan.14
“January 14, 1958: ‘Mr. Lichtenstein Showed Slides to Illustrate His Definition of Romanticism in Art. It is a Blending of Background and Foreground to Make a Complete Picture. There is a Warmth in the Colors Used.” 2019. Acrylic on canvas paper, 14 x 11″

This is a study for a larger oil painting to come. In 1958 (and today) The Oswegonian was a student run newspaper printed weekly and distributed campus wide. The quote in the title is from the article, “English Club Elects New Officers and Enjoys Panel on Romanticism”.

Would Roy like my romantic painting looking west into a January setting sun?

Probably, but he wouldn’t tell. Abstract impressionism was his thing on this date. He might have gone home, rushed up to his “studio” and fought the urge to be happy with desperate stokes of fuzzy ugly.  Fame and seed of fame are nasty critics. I can only imagine the false negativity surging through a man incapable of seeing the honor bestowed upon the teacher of eager innocence. Art is goodness expressed and shared whenever possible, and Roy abandoned the teaching of it for fame. Rather, the seed of fame.

Oh fame, babe, they’ve taken everything and just twisted it
Oh fame they say
You never could have resisted it
What’s in a name?
And everybody’s jaded by fame
Oh fame again
The press has gone and made another mess of it
Oh just because they got
So much invested in it
But they say you’re to blame it’s your own fault
‘Cause you got mixed up in fame
Oh no don’t believe none of that old Andy Warhol guff
It takes a lot more than 10 or 15 minutes
That’s just not enough
To qualify you for
Fame, you went beyond the boundries of your sanity
And every day you defy
All the laws of gravity
You ain’t got no shame
‘Cause you’re just addicted to fame
Well no don’t you buy none of that old Andy Warhol stuff (rough)
It takes a lot more than 10 or 15 minutes
Man, (yeah) it’s just not enough
To qualify you for
Fame, they’re already settin’ up, settin’ up your own Watergate, Watergate
Oh fame, that stalker out there is just filled with hate
You’ll never be the same
‘Cause everyone’s corrupted by fame
Oh fame, that took away, too away all my humanity
Oh fame got to fight
Every second of the day for my dignity
It’s a spectator’s game
And there ain’t nothing fair about fame
Oh no, oh fame, say it again, yeah, yeah, yeah
Oh fame say it again
Fame, say it again, fame, fame, fame
They say you’re to blame ’cause you got mixed up in fame, fame, say it again, fame
—Van Morrison from “Fame”