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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

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Area Canvas Color Diagonal Evently Repeated Suggest Tight Uninflect Use World

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

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.
ROY LICHTENSTEIN

Believe Belive Feel Impersonal Impression Look Own Personally Programme Thinking Wanted Work
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.
ROY LICHTENSTEIN

Influence Look Probably Thinking
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.
ROY LICHTENSTEIN

Basket Interest Make Matter Picnic Prefer Something Strip Subject Suppose Terribly
I think that most people think painters are kind of ridiculous, you know?
ROY LICHTENSTEIN

Kind Know Most Painter People Ridiculous Thinking
A number of artists have done things with Mickey Mouse – including Claes Oldenburg and Andy Warhol. He’s such an American symbol, and such an anti-art symbol.
ROY LICHTENSTEIN

Artist Cartoon Country Done Include Interest Mickey Mouse Number People Peron
Color is crucial in painting, but it is very hard to talk about.
ROY LICHTENSTEIN

Color Consistency Hard Painting Trying Very
I take a cliche and try to organize its forms to make it monumental. The difference is often not great, but it is crucial.
ROY LICHTENSTEIN

Cliche Differences Form Make Monument Organize Trying
All my art is in some way about other art, even if the other art is cartoons.
ROY LICHTENSTEIN

Art Cartoon Even Some Way
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
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
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.
ROY LICHTENSTEIN

Around Beginning Color Draw Four Guess Kind Mind Painting Refine
We’re not living in a school-of-Paris world, you know, and the things we really see in America are like this. It’s McDonald’s, it’s not Le Corbusier.
ROY LICHTENSTEIN

Country Living Mcdonalds People Peron School Thing World
Im not really sure what social message my art carries, if any.
ROY LICHTENSTEIN

Art Carries Message Our Really Social Sure Trying World
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

Another Artist Depend Itself Long Mark Relate Unity Vision
Outside is the world; it’s there. Pop Art looks out into the world.
ROY LICHTENSTEIN

Art Look Out Outside Pop World
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

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