The serious use of magnified melodramatic lips as the subject of paintings probably erupted with the pop art scene of the late 50s and 60s. Warhol used them for his cover of 'Andy Warhol’s Velvet Underground Featuring Nico' compilation album of 1971; Tom Wesselmann had an obsession with depicting disembodied lips in any manner of suggestive poses; and, of course, probably the most famous rock logo ever is third year art student John Pasche’s Hot Lips logo for the 1970 Rolling Stones European Tour, and which also figured on the inside cover of their album Sticky Fingers. But why lips and not...er...thumbs, elbows, ears or kneecaps? Eyes - the windows to our soul - possess more appeal than noses or big toes but a large pouting pair of soft, voluptuous lips are probably the most sensuous, suggestive part of the body to paint, even outranking the naughty bits of a nude. Lips take the biscuit. So to speak.
Acrylics
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The serious use of magnified melodramatic lips as the subject of paintings probably erupted with the pop art scene of the late 50s and 60s. Warhol used them for his cover of 'Andy Warhol’s Velvet Underground Featuring Nico' compilation album of 1971; Tom Wesselmann had an obsession with depicting disembodied lips in any manner of suggestive poses; and, of course, probably the most famous rock logo ever is third year art student John Pasche’s Hot Lips logo for the 1970 Rolling Stones European Tour, and which also figured on the inside cover of their album Sticky Fingers. But why lips and not...er...thumbs, elbows, ears or kneecaps? Eyes - the windows to our soul - possess more appeal than noses or big toes but a large pouting pair of soft, voluptuous lips are probably the most sensuous, suggestive part of the body to paint, even outranking the naughty bits of a nude. Lips take the biscuit. So to speak.
Acrylics
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