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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.

Roy Lichtenstein

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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.
ROY LICHTENSTEIN

Around Color Draw Drawing Gesture Guess Hard Mind Panting Size
The things that I have apparently parodied I actually admire.
ROY LICHTENSTEIN

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Im interested in what would normally be considered the worst aspects of commercial art.
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I dont have big anxieties. I wish I did. Id be much more interesting.
ROY LICHTENSTEIN

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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.
ROY LICHTENSTEIN

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All my art is in some way about other art, even if the other art is cartoons.
ROY LICHTENSTEIN

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I think the meaning of my work is that it is industrial, it’s what all the world will soon become. Europe will be the same way, soon, it won’t be American; it will be universal.
ROY LICHTENSTEIN

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I was at Rutgers University, and that was a center for Fluxus in a way. But it wasn’t what I was interested in.
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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.
ROY LICHTENSTEIN

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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.
ROY LICHTENSTEIN

Almost Certain Consistency Depend Field Generalization Hold Make Modulation Nothing Say Statement Try
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

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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.
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Color is crucial in painting, but it is very hard to talk about.
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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 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

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

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