Abstract
The original shock of Lichtenstein's paintings of enlarged details from comic strips has by now faded, and we may perhaps profit by examining more closely their formal characteristics. The controversy initially provoked by these themes—especially in connection with such aesthetic criteria as “transformation” and “legitimacy”—consistently neglected the comic strip from the standpoint of its own expressive features. If, as many critics believe, Lichtenstein's paintings have quality and significance beyond the shock of innovation, we might inquire what the artist discovered in comic strips and how he successfully exploited them for easel painting, especially the manner in which Lichtenstein related pictorial structure to subject matter.
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