But 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 LICHTENSTEINMy work sanitizes it (emotion) but it is also symbolic of commercial art sanitizing human feelings. I think it can be read that way….
More Roy Lichtenstein Quotes
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Im not really sure what social message my art carries, if any.
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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.
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There is a relationship between cartooning and people like Mir? and Picasso which may not be understood by the cartoonist, but it definitely is related even in the early Disney.
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There must be something about art… almost all cultures have done art. It’s a refining of the senses, which are there to keep us alive. As far as we know, no other animals do that.
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All my art is in some way about other art, even if the other art is cartoons.
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I think its the tension between what seems to be so rigid and cliched and the fact that art really cant be this way.
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My direction is very anti-contemplative. If you thought I was for commercial products, you’d think there was no irony. The irony isn’t meant to be an ironic comment on our society, exactly.
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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.
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I kind of do the drawing with the painting in mind, but it’s very hard to guess at a size or a color and all the colors around it and what it will really look like.
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Im interested in what would normally be considered the worst aspects of commercial art.
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But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.
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Picasso’s always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence.
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I like to pretend that my art has nothing to do with me.
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I think art since Cezanne has become extremely romantic and unrealistic, feeding on art. It is Utopian. It has less and less to do with the world. It looks inward – neo-Zen and all that. Pop Art looks out into the world. It doesn’t look like a painting of something, it looks like the thing itself.
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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.
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I’d always wanted to know the difference between a mark that was art and one that wasn’t.
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Personally, I feel that in my own work I wanted to look programmed or impersonal but I don’t really believe I am being impersonal when I do it. And I don’t think you could do this.
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What interests me is to paint the kind of antisensitivity that impregnates modern civilization.
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I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter.
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Organized perception is what art is all about.
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The big tradition, I think, is unity. And I have that in mind; and with that, you know, you could break all the traditions- all the other so-called rules, because they are stylistic.. and most are not true.
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I don’t think that I’m over his influence but they probably don’t look like Picassos; Picasso himself would probably have thrown up looking at my pictures.
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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.
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I’m never drawing the object itself; I’m only drawing a depiction of the object – a kind of crystallized symbol of it.
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You know, as you compose music, you’re just off in your own world.
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You forget that this has been thirty five years now and people don’t look at it as if it were some kind of oddity.
ROY LICHTENSTEIN