Femme d'Alger

在借用连环画和商业广告图片的同时，罗伊·利希滕斯坦也在借用他的英雄形象。借用、更新和（希望）超越的过程一直是艺术的一个强大传统。巴勃罗·毕加索借用了所有人的作品，包括欧格的主题è德拉克洛瓦1834年的画作阿尔及尔的女人在她们的公寓里列支敦士登,挪用了grid of primary colors à la Piet Mondrian. The women in Delacroix’s painting represent a male fantasy: a harem of women lounging around, waiting. Picasso, in his series from the mid-1950s, further scandalizes the theme. Here, however, Lichtenstein turns the salaciousness in on itself. The woman is a series of fragmented parts, jagged and angular; she is one with the architecture of her space, her birdlike face repels the gaze rather than returns it.