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.
ROY LICHTENSTEINThere 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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Pop Art looks out into the world. It doesnt look like a painting of something, it looks like the thing itself.
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We like to think of industrialization as being despicable.
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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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Im interested in what would normally be considered the worst aspects of commercial art.
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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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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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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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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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Painting stems from a sense of organisation, the sensed positions of contrasts. Not that it is about this.
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Color is crucial in painting, but it is very hard to talk about.
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The big tradition, I think, is unity. And I have that in mind; and with that, you know, you could break all the traditions- all the other so-called rules, because they are stylistic.. and most are not true.
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I think that most people think painters are kind of ridiculous, you know?
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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 all the colors around it and what it will really look like.
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My work isn’t about form. It’s about seeing. I’m excited about seeing things, and I’m interested in the way I think other people see things.
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I’d always wanted to know the difference between a mark that was art and one that wasn’t.
ROY LICHTENSTEIN