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  1. en.wikipedia.org › wiki › Whaam!Whaam! - Wikipedia

    Whaam! adapts a panel by Irv Novick from the "Star Jockey" story from issue No. 89 of DC Comics' All-American Men of War (Feb. 1962). The original forms part of a dream sequence in which fictional World War II P-51 Mustang pilot Johnny Flying Cloud, "the Navajo ace", foresees himself flying a jet fighter while shooting down other jet planes.

  2. en.wikipedia.org › wiki › Irv_NovickIrv Novick - Wikipedia

    He modeled Whaam! on a panel from "Star Jockey"..., making several alterations that might at first seem insignificant but are in fact rather substantial. In the comic-strip panel (fig. 92), the central element is the airplane on the left, which has just scored a major victory over the enemy aircraft.

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  4. Oct 21, 2014 · In the case of Whaam!, that original artist was the American comic-book illustrator Irv Novick. Ironically enough, Novick was an officer at the army boot camp where Lichtenstein trained during...

  5. Mar 17, 2013 · Dave Gibbons: “I would say ‘copycat’. In music for instance, you can’t just whistle somebody else’s tune or perform somebody else’s tune, no matter how badly, without somehow crediting and giving payment to the original artist. That’s to say, this is ‘WHAAM! by Roy Lichtenstein, after Irv Novick’.”.

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  6. www.tate.org.uk › tate-etc › issue-27-spring-2013WOW! – Tate Etc | Tate

    Jun 25, 2019 · Whaam! 1963 is a deceptively simple work of appropriation. The compositional template was taken from a comic-book panel in DC Comics’s All-American Men of War #89 (February, 1962), created by Russ Heath and Irv Novick.

  7. Lichtenstein adapted the image from several comic-book panels, with the primary source being a panel illustrated by Irv Novick from a 1962 war comic book. Lichtenstein transformed the source by presenting it as a diptych while altering the relationship of the graphical and narrative elements.

  8. Apr 11, 2022 · Novick, with inker Murphy Anderson, takes six Justice League talking heads and arranges them across six panels — but the key is that he elevates Hawkman a little higher and Green Arrow a little lower, so that the entire visual is essentially a bold color wheel.

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