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 LICHTENSTEINAnd 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.
More Roy Lichtenstein Quotes
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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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People think one-point and two-point perspective is how the world actually looks, but of course, it isn’t. It’s a convention.
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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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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 -
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.
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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 -
Outside is the world; it’s there. Pop Art looks out into the world.
ROY LICHTENSTEIN -
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.
ROY LICHTENSTEIN -
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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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.
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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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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.
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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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You have no idea where reality is, so to have an idea of what people think is pretty hard.
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What interests me is to paint the kind of antisensitivity that impregnates modern civilization.
ROY LICHTENSTEIN