John Gannam

Mike Ludlow Harry Anderson As a result, musicians of all stripes, with different purposes as well as differing levels of authenticity, have actually tried to piggyback on the visual stamina of comics. They take the visual of comics and also connect it into their very own paints like a lithium ion battery, to include power to their own objectives.Artists such as Roy Lichtenstein, Andy Warhol, Robert Rauschenberg and Jasper Johns included comics in pop art paints. These musicians

might have been pursuing non-comic goals: social commentary, parody, paradox, kitsch … yet the visual strength of these images originated from the initial comics. Without this borrowed backbone, the images would be visually limp. Contemporary”art” painter Sharon

Moody concentrates on oil paints of comics in a trompe l’oeil style:

For me, the Moody paintings are a remarkable technical gimmick with none of the visual effectiveness of comics. She leaves the finest component behind. Jasper Johns comes a little bit more detailed with this painting from the cartoon Alley Oop: Note that Johns did not just paint random cartoon-like forms. He tracked the initial compositions in all twelve panels fairly very closely, abstracting their forms and colors.:

Other “fine” musicians such as Jim Nutt, John Wesley and also Vernon Fisher proceeded the practice of obtaining the strength of comic art images, albeit in the solution of various artistic goals. Keith Haring is another example: Again and once again, it seems to me that the ur of comics is the greatest single component of these photos. The social commentary, the irony, the conceptual overlays– all are intriguing elements but without the comics the result would be creatively negligible.