An Analysis of Psychology in Art Essay

Kahlos moving picture Self depiction with Cropped Hair (1940) and Lichtensteins Drowning Girl (1963) both use emotive techniques in order to convey more subtle feelings. While Lichtenstein employed a more bold look to his female subject, Kahlo uses a formal bearing in her self-importance-portrait, exactly both give the witnesser the idea of tribulation existence the center subject behind these female signs. Kahlos self portrait shows a fair sex on a c tomentum (presumably Kahlo) with the recognise pieces of her hair scattered every about her.This use of the hair existence each around the main introduce gives the viewer the impression of a battle that Kahlo lost. Hair is a metaphor in the house house painting a metaphor of peace or effectuality. In the bible the symbol of hair can be found in the bilgewater of Samson and witch in which Samson got his strength from his hair, and the prostitute Delilah cut it all off thereby r break offering the hero useless. If the n, Kahlos hair is her strength it is almost as though the viewer is peering on to a expiration sentence of the adult female.The death sentence in Lichtensteins work is oftentimes more blatant as the drowning girl terra firmas in her bubble Id rather sink than call Brad for help which coordinates this discipline of desperation and sorrow. The post of any female in their respected designs be opposite Lichtenstein gives his subject a subdued and hopeless perspective being already almost entirely submerged in the water and thereby closer to death while in Kahlos painting, although nearly all of her hair is spread about her in a form of defeat, the figure stands in erect position rather in a stance of having lost the battle.There is distinctly more sense present in Kahlos painting, with the cut hair scattered on the ground and the angles of the tone down do the viewer fell as though they are peering into this event. In Lichtensteins work the viewer is given a close up of the adult female who doesnt allow for much depth to be viewed tho in classic Lichtenstein technique, his use of flat planes further develop this sacking 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 involved in the work while in Lichtensteins work the viewer save 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 divorce from her untrue hubby Diego Rivera) the viewer may guess that this cutting of the hair is exemplary of Kahlos state of emotions.Perhaps she is shedding the part of herself that Diego had shouted as Kahlo has verbalise of her art, I do not know if my paintings are Surrealist or not, scarce I do know that they are the most frank demonstration of myself. (Kahlo). Thus, in cutting of her hair (presumably he loved long haired women) she is making a claim of self identity away from her cheating husband and thereby the painting becomes transformed into a muliebrity losing hair, into a wo soldiery 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 dont love you anymore. Lichtensteins portrait of a woman who is also in the bad end of love also has a small firearm of this identity. She states that she would rather die than have Brad come and help her, scarcely the viewer wonders, why doesnt the woman try and save 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 argue that the woman has an Ophelia complex (from Hamlet) in which she would rather die than zippy without her lover.In either instance, it is clear that both artists are trying to depict an emotional state in which love is the cause of the effects. Lichtensteins work is pre overlookly innovated through with(predicate) 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 nature and emblematical in style as is evident in Self characterization with Cropped Hair. In surrealistic style, Kahlo allows the interchange of gender to play a dominate role in the painting.The figure, Kahlo herself, is dressed in mens shirk and a shirt, thus allowing the short hair to almost define her in a masculine capacity. In Lichtensteins work the gender of the painting is quite clear with the woman showing attributes a helpless woman drowning in the water as well as in love. This woman relinquishes her control over her fate in a rather amen equal component of femininity (the viewer is reminded of the big bosomed females in plague movies who run from the monster in drastic steps only to do in their high heels and be destroyed by their pursuer).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 conceptive. 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 interested in the psychology of their subject. In the DC comic human by which Lichtenstein gained inspiration, women were approximately helpless creatures in the 1960s only gaining a feminine 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 phone her on the ground in the form of her hair, and her tra nsformation 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 protagonist 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 Walker 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 Emergence of defeat Art, New Haven Yale University Press, 2002. Pop Art A Critical History, Steven H. Madoff, ed. , Berkeley Univ. of calcium 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.