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
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.
More Roy Lichtenstein Quotes
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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.
ROY LICHTENSTEIN -
Everybody knows that abstract art can be art, and most people know that they may not like it, even if they understand there’s another purpose to it.
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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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In America the biggest is the best.
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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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Yes, you know sometimes, we started out thinking out how strange our painting was next to normal painting, which was anything expressionist.
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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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Color is crucial in painting, but it is very hard to talk about.
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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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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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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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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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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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Im interested in what would normally be considered the worst aspects of commercial art.
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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.
ROY LICHTENSTEIN