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This technique was entirely independent of Roy Lichtenstein’s use of graphic ‘Ben Day’ dots and his universe of comic books: it atomised the photographic referent, blowing it up, in the case of Jean-Luc Godard’s star, Anna Karina, to twelve feet high; an echo of Richard Smith’s then current rehandlings of hoarding sized scale.This immense brooding portrait of the French nouvelle vague film actress Anna Karina, staring out mournfully in stark black and white, was the star attraction of the exhibition Gerald Laing held at St Martin’s School of Art, London, where he was a student, in March 1963.
The painting, which measures 7’ x 12’, is in 9 sections, each 2’4” x 4’.
It is one of the few with the darkest-toned areas painted flat black instead of being constructed from a mass of adjacent large dots.
Among billboards, on the street, reflected in shop windows, etc.
2) Possibility of subliminal interference with a painting on film.
This and other paintings of girls were used - lone or two frames of a real girl approximating to the image in the paintings, standing in front of the paintings, would be interspersed with straight footage go the painting.
3) Surrealistic possibilities - round paintings as car-wheels, paintings of mouths appearing to devour cakes in shop windows when reflected in the glass, etc. cut from painting of girl on swing (Choosing a group of French female New Wave film stars - Anna Karina, Corinne Marchand and Annette Stroyberg, (as well as the standby pop pin-up of French film, Brigitte Bardot) - Laing took the photographic screening process that reproduced their faces and fame for publications, and then produced over sized images of them in paint.His paintings reproduced images of popular heroes such as starlets, film stars, drag racers, astronauts and skydivers.His 1962 portrait of Brigitte Bardot is an iconic work of the period and regularly features in major Pop retrospectives alongside Lincoln Convertible from 1964, a commemoration of the assassination of JFK.The title he devised for that show, , directed attention to the photographic imagery and quasi-mechanical procedures that proved symptomatic of his particular contribution to Pop Art.Demonstrating a quick understanding of the possibilities suggested by the work of the American Pop artists, only then beginning to be seen in England, he took up implications both from Andy Warhol’s photo-screenprinted portraits of movie stars and from Roy Lichtenstein’s deployment of hand-painted or stencilled dots imitating the look of the half-tone screens used in the printing of mass-circulation newspapers.Readers should take specific advice independent of this Web Site in respect of their own specific situations.