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As long as the marks are related to one another, there is unity. Unity in the work itself depends on unity of the artist’s vision.

Roy Lichtenstein

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Another Artist Depend Itself Long Mark Relate Unity Vision

Bagwalas

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Marilyn Monroe Paulo Coelho Abraham Lincoln C. S. Lewis Khalil Gibran Charlie Chaplin Gautama Buddha Isaac Newton

I’d always wanted to know the difference between a mark that was art and one that wasn’t.
ROY LICHTENSTEIN

Always Art Difference Drawing Mark One Want
People mistake the character of line for the character of art. But it’s really the position of line that’s important, or the position of anything, any contrast, not the character of it.
ROY LICHTENSTEIN

Anything Character Contrast Important Line People Position
All my art is in some way about other art, even if the other art is cartoons.
ROY LICHTENSTEIN

Art Cartoon Even Some Way
Painting stems from a sense of organisation, the sensed positions of contrasts. Not that it is about this.
ROY LICHTENSTEIN

Contrast Organisation Painting Position Stem
There is almost nothing you can say that holds up as a generalization, because it depends on too many factors: size, modulation, the rest of the field, a certain consistency that color has with forms, and the statement you’re trying to make.
ROY LICHTENSTEIN

Almost Certain Consistency Depend Field Generalization Hold Make Modulation Nothing Say Statement Try
And I dont really want it to carry one. Im not interested in the subject matter to try to teach society anything, or to try to better our world in any way.
ROY LICHTENSTEIN

Anything Better Carry Interested Matter Really Society Subject Teach Want Way
Yeah, you know, you like it to come on like gangbusters, but you get into passages that are very interesting and subtle, and sometimes your original intent changes quite a bit.
ROY LICHTENSTEIN

Change Come Gangbuster Interest Interesting Passage Sometimes Subtitle
Everybody knows that abstract art can be art, and most people know that they may not like it, even if they understand there’s another purpose to it.
ROY LICHTENSTEIN

Abstract Another Art Even Everybody Know Most People Purpose Understand
There are certain things that are usable, forceful, and vital about commercial art. We’re using those things – but we’re not really advocating stupidity, international teenagerism, and terrorism.
ROY LICHTENSTEIN

Advocating Certain Commercial Forceful International Teenagerism Really Stupidity Terrorism Thing Usable Vital
My work isn’t about form. It’s about seeing. I’m excited about seeing things, and I’m interested in the way I think other people see things.
ROY LICHTENSTEIN

Interest People See Thing Thinking Vision Work
Im interested in what would normally be considered the worst aspects of commercial art.
ROY LICHTENSTEIN

Art Aspect Commercial Consider Interest Normally Thinking Way Worst
Usually I begin things through a drawing, so a lot of things are worked out in the drawing. But even then, I still allow for and want to make changes.
ROY LICHTENSTEIN

Come Draw Lot Mind Painting Thing Trying Usually Worl Yeah
In America the biggest is the best.
ROY LICHTENSTEIN

Best Biggest Country Standard
I think the meaning of my work is that it is industrial, it’s what all the world will soon become. Europe will be the same way, soon, it won’t be American; it will be universal.
ROY LICHTENSTEIN

Become Country Industrial Mena Same Soon Think Universal Way Work
Color is crucial in painting, but it is very hard to talk about.
ROY LICHTENSTEIN

Color Crucial Hard Paint Talk
People think one-point and two-point perspective is how the world actually looks, but of course, it isn’t. It’s a convention.
ROY LICHTENSTEIN

Actual Convention Course Look People Perspective Point Think Thinking Two

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