ARH 128: Introduction to Art History

“Temple” is the art piece created by Roy Lichtenstein in 1964. This offset lithographic on wove paper measures 23.125 by 17.19 inches. The main object illustrated in this piece is the side of the Parthenon located on the Athenian Acropolis, Greece with the presence of only three Doric columns – two in the foregrounds and one in the background. There are also other structures of the upper levels of Doric orders, which are the combination of series of triglyphs, metopes on the entablature as a continuous frieze, and pediment. The artist drew the stairs leading up to the Parthenon from the ground and the crack of the steps and the rock ground. The elements of Parthenon figure’s outlines are in black and white with simplistic and clear sketch. The subject matter is painted in flat, bold, graphic stimulation of brushstrokes that are seen in prints - commercial art. The outer part of Parthenon was patterned with black dots on white ground. The repetitive and closely spaced Ben-Day dot patterns in this painting and his artworks in general really appeal to the eyes and create some sense of satisfaction. The dots also effectively highlight the main figure, which is the Parthenon. There is his writing in pencil on the lower right corner of the painting that includes his signature, the date and maybe the number of prints – 42/300.

The original audience of the object are the admirers of the Greek architecture. Purpose of the Parthenon was to celebrate the Hellenic victory for winning the Persian intruders. The Parthenon was built on the ground of the historical building that was destructed. The location strengthens its sacredness. The print of Lichtenstein delivers the meaningful values of the Parthenon as one of the world’s greatest cultural monuments. The way the artist named his work keeps the meaning of a Classical Greek Art – Greek Temple. “Temple” also becomes the representative of Lichtenstein artistic style and contribute to his massive artwork- collection. The art public would view him as the master and the pioneer of American Pop Art. As one of the first post-modern painters, his paintings reflect iconic style and inventive creation with the cartoon-like figures and the use of dots. The audience can notice his tendency to adopt different arts, landscapes, and architectures in historical periods like the Renaissance or High Classicism in Greece and the influence of Cubism and Realism on his work. The “Temple” brings the audience closer to the past but with a modernized view and talks about the volume of taboo in commercial art and comics.

The Parthenon was the city treasure. Looking at the painting, audience cannot visualize the scale of the Parthenon that voices its power. However, the idea of the print was transferred from the previous values of the original architecture, it remains its significant power. The print acts as a form of conservation to keep that history alive and increase awareness of the political influence making up its importance in Greek architectural culture. The realistic and simplistic in the choice of columns and the visual elements and the generic abstraction with geometrical appearance of real-life object keep the narrative clear and intriguing. Linear, figurative, and geometrical perspective has a strong call to the mixture of manual and mechanical representation. The deployment of visual elements and vocabulary of the previous time to communicate with contemporary audience by delivering specific message is seen from the choice of format and duplication of prints. The creation of “Temple” was intended for easy distribution and sharing and repurposed for many different uses. The prints acted as a mailer that was published to announce Lichtenstein's exhibition- "Landscapes" (1964) at Leo Castelli Gallery and sent as an invitation to buyers and visitors. Referring his work as powerful and important like the stance of the Parthenon, he persuaded the audience to view his works as valuable to him and the contemporary era. One “Temple” print has Lichtenstein’s hand written note, saying “To Andy” (To Andy Warhol) that links the connection of the Lichtenstein and the Pop art artist Warhol. There are also different reproductions that are similar to this piece like “Temple of Apollo”. The inclusion of artist’s signature in his painting elevates the status of the creator and raise his identity in social position. Again, “Temple” is a true statement of power, high classical blend with modernism, and a perfect example of the recreation of old arts for new purposes.