An Analysis of Psychology in Art Essay

Kahlos depiction self Portrait with Cropped Hair (1940) and Lichtensteins Drowning Girl (1963) both use affective techniques in order to convey more subtle feelings. While Lichtenstein assiduous a more bold look to his female subject, Kahlo uses a glob billet in her self- portrait, but both give the beauty the melodic theme of sorrow being the center subject behind these female figures. Kahlos self portrait shows a woman on a lead (presumably Kahlo) with the garnish pieces of her fuzz scattered all close her.This use of the copcloth being all around the main figure gives the viewer the legal opinion of a battle that Kahlo lost. Hair is a metaphor in the painting a metaphor of peace or strength. In the countersign the symbolization of hair can be found in the story of cop and Delilah in which Samson got his strength from his hair, and the prostitute Delilah cut it all off thereby rendering the hero useless. If then, Kahlos hair is her strength it is almost as though the viewer is peering on to a stopping point sentence of the woman.The death sentence in Lichtensteins constitute is a great deal more blatant as the drowning girl states in her spew out Id quite an sink than call Brad for admirer which coordinates this theme of desperation and sorrow. The stance of every female in their prise re representations ar opposite Lichtenstein gives his subject a subdued and hopeless stance being already almost entirely submerged in the piss and thereby borderingr to death while in Kahlos painting, although around all of her hair is spread about her in a underframe of defeat, the figure stands in erect position rather in a stance of having lost the battle.There is distinctly more discernment present in Kahlos painting, with the cut hair scattered on the terra firma and the angles of the chair making the viewer fell as though they are peering into this event. In Lichtensteins spurt the viewer is given a close up of the woman who doesnt allo w for much depth to be viewed but in classic Lichtenstein technique, his use of flat planes further turn out this loss of field of depth.This is perhaps a metaphoric sense of depth since Kahlos portrait is subtle and the viewer has to read into the subject and the subtler emotions conglomerate in the work while in Lichtensteins work the viewer merely has to read what the girl says in order to understand everything about the painting in one glance. With a second glance at the figure in Kahlos work (and with the history of her recent settle apart from her unfaithful husband Diego Rivera) the viewer may guess that this cutting of the hair is symbolic of Kahlos state of emotions.Perhaps she is peeling the part of herself that Diego had claimed as Kahlo has said of her art, I do not know if my paintings are Surrealist or not, but I do know that they are the most abrupt expression of myself. (Kahlo). Thus, in cutting of her hair (presumably he loved big haired women) she is makin g a claim of self identity away from her treachery husband and thereby the painting becomes transformed into a woman losing hair, into a woman gaining her identity. The top of Kahlos painting even states as much in saying, Look, if I loved you it was because of your hair.Now that you are without hair, I fall apartt love you anymore. Lichtensteins portrait of a woman who is in addition in the bad end of love also has a fine bit of this identity. She states that she would rather die than have Brad come and service of process her, but the viewer wonders, why doesnt the woman try and dispense with herself? The depth that is lacking in the field of vision with Lichtensteins work is replaced by a depth into personality of the woman. A psychologist might make out that the woman has an Ophelia complex (from Hamlet) in which she would rather die than live without her lover.In all instance, it is clear that both artists are trying to depict an steamy state in which love is the cause of the effects. Lichtensteins work is predominately innovated by means of DC comics (a panel of which inspired The Drowning Girl). His use of Benday dots emphasize a stylistic approach. Kahlos art is more surreal in spirit and symbolic in trend as is manifest in self-importance Portrait with Cropped Hair. In surrealistic style, Kahlo allows the interchange of sex to play a dominate role in the painting.The figure, Kahlo herself, is dressed in mens slacks and a shirt, gum olibanum allowing the short hair to almost rig her in a masculine capacity. In Lichtensteins work the gender of the painting is quite clear with the woman showing attributes a befuddled woman drowning in the water as well as in love. This woman relinquishes her control over her fate in a rather docile component of femininity (the viewer is reminded of the big bosomed females in horror movies who run from the monster in drastic steps unaccompanied to fall in their high heels and be destroyed by their pursu er).In Kahlos painting, perhaps because of this gender bending idea, the woman becomes like a man, that is, able to survive, or, in comparison, she becomes the pursuer and thereby strong. In opposition to the bible story then, Kahlo does not in fact become weak in losing her hair, but rather the painting is meant to suggest that she becomes strong in this shedding of hair, and husband.In either painting it is clear that both artists are elicit in the psychology of their subject. In the DC comic world by which Lichtenstein gained inspiration, women were somewhat helpless creatures in the 1960s only gaining a effeminate stance in the 1980s or so. His vision of women through his portrait gives the viewer the idea that without love, a woman does not have an identity, and thus, death is a logical substitute to not having a Brad.In Kahlos painting the same may be deciphered she allows her femininity to surround her on the ground in the form of her hair, and her transformation into a man makes her stronger. It is then interesting to note the decades which lie between either painting it may be said that Kahlo was progressive with her painting style and her representation of women (perhaps taking note of Kate Chopins The Awakening in which the booster unit cannot live in a mans world and thus drowns herself in an act of freedom).It is clear that in both artworks there are strong emotions which propel the subjects into the places they stand before the viewer. The emotional journey has come to an end in either painting or the female figures either claim their identities (in the case of Kahlo) or they become submerged in a world where they cannot live without love (in the case of Lichtenstein). The psychology of the main characters becomes evident through the artists rendering through the use of space, script, and symbolism.Works CitedAlloway, Lawrence, Roy Lichtenstein, N. Y. Abbeville, 1983 759. 1 L701A Claudia Bauer, Frida Kahlo, Munich Prestel Verlag, 2005. Frida Kahlo, ed. Elizabeth Carpenter, exh. cat. , Minneapolis carriage Art Center, 2007 759. 972 K12FR Gannit Ankori, Imagining Her Selves Frida Kahlos Poetics of Identity and Fragmentation, Westport, Conn. Greenwood Press, 2002. Hayden Herrer, Frida Kahlo The Paintings, N. Y. Harper Collins, 1991.759. 072 K12H Lobel, Michael, Image Duplicator Roy Lichtenstein and the increment of tonic water Art, New Haven Yale University Press, 2002. Pop Art A hypercritical History, Steven H. Madoff, ed. , Berkeley Univ. of California Press, 1997 709. 73 P8242 Waldmann, Diane, Roy Lichtenstein, exh. cat.. , N. Y. Guggenheim Museum, 1993. 759. 1 L701WAL Whiting, Cecile, A Taste for Pop Pop Art, Gender and Consumer Culture, Cambridge Cambridge University Press.