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.
ROY LICHTENSTEINMy 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.
More Roy Lichtenstein Quotes
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I don’t really know what to make of it. There’s something terribly brittle about it. 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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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 the colors around it and what it will really look like. It’s only a guess at the beginning, and then I try to refine it.
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I think that most people think painters are kind of ridiculous, you know?
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Organized perception is what art is all about.
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My work sanitizes it (emotion) but it is also symbolic of commercial art sanitizing human feelings. I think it can be read that way….
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I like to pretend that my art has nothing to do with me.
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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.
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I take a cliche and try to organize its forms to make it monumental. The difference is often not great, but it is crucial.
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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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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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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 dont have big anxieties. I wish I did. Id be much more interesting.
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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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In America the biggest is the best.
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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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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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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.
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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.
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Color is crucial in painting, but it is very hard to talk about.
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Pop Art is industrial painting.
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Art doesn’t transform. It just plain forms.
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Im interested in what would normally be considered the worst aspects of commercial art.
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Painting stems from a sense of organisation, the sensed positions of contrasts. Not that it is about this.
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My use of evenly repeated dots and diagonal lines and uninflected color areas suggest that my work is right where it is, right on the canvas, definitely not a window into the world.
ROY LICHTENSTEIN