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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.

Roy Lichtenstein

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We like to think of industrialization as being despicable.
ROY LICHTENSTEIN

Art Being Despicable Industrialization Interesting Like Thing Thinking
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.
ROY LICHTENSTEIN

Certain Dot Draw Drawing Paint Paper Sure Thing Want
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.
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Artist Cartoon Country Done Include Interest Mickey Mouse Number People Peron
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
I think its the tension between what seems to be so rigid and cliched and the fact that art really cant be this way.
ROY LICHTENSTEIN

Between Cliched Fact Rigid Seem Tension Think Way
All of it had an impact – as did happenings – because I could see that art was changing from expressionism, which I was doing at the time, or thought I was doing. But it wasn’t the direction I really wanted to go.
ROY LICHTENSTEIN

All Change Direction Expression Happen Impact Thought Time Want
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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Another Artist Depend Itself Long Mark Relate Unity Vision
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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Being Five Forget Kind Look Now Oddity People Some Thirty Years
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
Color is crucial in painting, but it is very hard to talk about.
ROY LICHTENSTEIN

Color Consistency Hard Painting Trying Very
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 Gas Interest Interesting Picnic Pump Sign Strip Suppose Tree
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
Color is crucial in painting, but it is very hard to talk about.
ROY LICHTENSTEIN

Color Crucial Hard Paint Talk
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
Im not really sure what social message my art carries, if any.
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Art Carries Message Our Really Social Sure Trying World
I don’t think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.
ROY LICHTENSTEIN

Architect Architecture Art Form Kind Result Think Thinking

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