Roy Lichtenstein originally drew me to this piece due to the mixture of solid and striped objects within it. The use of complimentary colors was also an eye grabber for me. In the original image Lichtenstein used lines to draw the audiences attention to the skyline view in the window. When we look at the image our eyes instantly move to the view of the city because of the diagonal lines on the chair, carpet, painting, and even on the magazine on the table. This shows a successful use of actual lines that helps lead our eyes to where the artist intended. The constant use of square shapes also attracts the eye because it accomplishes a sense of affinity throughout the image. We see contrast, however, through the quality of lines throughout the image. The use of linear and curvilinear lines brings contrast within the frame.
When I decided to reframe the image, I chose to take out all of the leading lines and just have the image that seemed to be the point of interest for me. I wanted to see if the image would have the same impact as it did in the original. In doing so I realized that by putting the skyline among the rest of the image, Lichtenstein was able to give it more of a meaning. Alone the image just looks like a skyline but when framed by the lines in the rest of the image, it looks like a desirable skyline in a high scale apartment. By doing this, the artist is able to use the image as a representation of an affluent space instead of just an image of buildings. Many times artists put strong images among weaker or contrasting images in order to add more meaning to the image as a whole, which is an example of the gestalt principal learned in
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