The Simpson palette has always seemed as radical and subversive as the show’s social commentary and close in artifice to that of innovative colorists like Andy Warhol, Bruce Nauman and Matthew Barney. Five amped-up hues suffice: egg-yolk yellow, magenta, Marge-Simpson’s-hair blue, darkened chartreuse and lavender, plus important bits of white (mainly eyes and teeth) and touches of red. Subtle distinctions of tonality are made. Homer’s yellow head is seen against a slightly darker yellow background. Marge’s hair is slightly darker than the blue behind Bart. Red defines only Homer’s tongue, Maggie’s pacifier, Marge’s beads and the smidgeon of Bart’s T-shirt.
Third, less is more. The “Simpsons” gestalt is boiled down to its essence and so is stampness. The images are stripped of detail except for the letters USA and the number 44 (cents, the new first class). No fussy engraved textures, no identifying names. This allows color to take over and the faces to pop out. Like a Richard Serra sculpture, only smaller and a whole lot cheaper, the stamps prove the adage that scale has nothing to do with size. They strike David-like blows against the Goliaths of American visual illiteracy.
Don’t have a Nauman! [Arts Beat]