PrepTest 125

Topic: Humanities

Paragraph 1

• Paragraph note
  • Lichtenstein’s style and accomplishments
• Views, minor Meta-Structures, and the author's attitude
  • Definition of “pop art”:
    • Common objects and commercial art in paintings
  • Author’s view on Lichtenstein’s accomplishment:
    • Poked fun at the pretentious art world and expressed a seriousness of theme (more than parody)
  • Author’s attitude: “complex result” (line 6); “managed to convey” (line 8); “transcend mere parody” (lines 9-10)

Paragraph 2

• Paragraph note
  • Pop art as a reaction to late abstract expressionism
• Views, minor Meta-Structures, and the author's attitude
  • Conventional view:
    • Pop art emerged in response to abstract expressionism
  • Author’s view:
    • Pop artists like Lichtenstein reacted to the second generation of abstract expressionism (which lost most of power)
  • Author’s attitude: “at first difficult to see” (line 12); “had already lost much of its force” (line 21); “powerful early abstract expressionist work” (lines 22-23); “seemed airy, high-minded, and overly lyrical” (line 25); “fading emotional power of abstract expressionism, rather than an aloof attempt to ignore it” (lines 28-30)

Paragraph 3

• Paragraph note
  • Other dimension of Lichtenstein; contrast with other pop art
• Views, minor Meta-Structures, and the author's attitude
  • Author’s view
    • If Lichtenstein was just a parody, not as much power; also motivated to depict contemporary life (missing from other art)
    • Lichtenstein reconciles cartoons and fine art, parody and feeling
  • List of elements in Lichtenstein's work that was taken from contemporary life:
    • Romances, war stories, automobiles, hot dogs, table lamps
  • Comparison with other pop art, according to author:
    • Lichtenstein’s work was different from with other pop art and late abstract expressionism because it expressed a naive nostalgia/sweetness
  • Author’s attitude: “it would possess only the reflective power that parodies have” (lines 33-34); “excess of sophistication” (lines 46); “an inner sweetness” (line 51); “faith in reconciliation” (line 53)

Main Point: Lichtenstein’s use of comic book styles made the depth in his work difficult to see, but he was able to successfully poke fun at the art world’s pretensions while also conveying a seriousness of theme and a naive nostalgia about contemporary life.

Lines 5-10 - The Author’s overall view of Lichtenstein’s art and accomplishments

Lines 15-17 - Standard art history’s view on pop art’s origins

Lines 27-30 - How Lichtenstein fits into that history

Lines 35-38 - What made Lichtenstein’s art more than just parody

Lines 43-48 - Lichtenstein’s art compared to other pop art and abstract expressionism

Lines 52-55 - Closing opinion by the Author

Importance of Subject: Some humanities passages don’t necessarily present an artist as being an innovator as much as they describe the importance of their work. These generally set the work in its historical context and discuss influences on the artist, but they focus on the accomplishments and characteristics of that artist’s work rather than what they did “first.” Here, the author starts by talking about Lichtenstein as someone who “helped to define pop art” (Lines 1-2), placing his work in its historical context. The author goes on to talk about the “complex result” of his work (Lines 5-10), before going on to flesh out the historical context of it (Paragraph 2). The author then explains how Lichtenstein’s work transcended mere parody (Lines 31-43) and contrasts Lichtenstein with previous and contemporary work (Lines 43-48) to highlight his specific achievement. When a passage falls into this Meta-Structure, the main point focuses on how the author characterizes the artist’s work and their accomplishments, leading to our anticipated main point above.

List: While a minor part of the passage, there’s a list of elements in Lichtenstein’s work in Lines 38-42. There will likely be a question that asks about this list.

There were descriptions of several styles here, even splitting abstract expressionism and pop art into sub-styles, so we should have a general idea of each, as there will likely be questions about them:

• Early abstract expressionism - Private emotions with nonrepresentational techniques (Lines 17-19)
• Late abstract expressionism - As above, but “airy, high-minded, and overly lyrical” (Lines 24-25)
• Pop art - Commonplace objects and commercial-art techniques (Lines 2-3)
• Some pop art - Jaded cynicism about consumer culture (Line 44)
• Lichtenstein - Pop art, but deliberate naivete, nostalgic, and sweet, with a focus on the depiction of contemporary life (Line 38; Line 45; Line 51)