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We’re not living in a school-of-Paris world, you know, and the things we really see in America are like this. It’s McDonald’s, it’s not Le Corbusier.

Roy Lichtenstein

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Country Living Mcdonalds People Peron School Thing World

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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
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.
ROY LICHTENSTEIN

Always Away Cartoon Done Influence Painting Picasso Start Such Thing
I was at Rutgers University, and that was a center for Fluxus in a way. But it wasn’t what I was interested in.
ROY LICHTENSTEIN

Art Center Country Interest University Way
Outside is the world; it’s there. Pop Art looks out into the world.
ROY LICHTENSTEIN

Art Look Out Outside Pop World
Yes, you know sometimes, we started out thinking out how strange our painting was next to normal painting, which was anything expressionist.
ROY LICHTENSTEIN

Anything Expressionist Next Normal Oddities Painting Sometimes Strange Think Thinking Year
All my art is in some way about other art, even if the other art is cartoons.
ROY LICHTENSTEIN

Art Cartoon Even Some Way
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.
ROY LICHTENSTEIN

Anti Commercial Contemplative Direction Ironic Irony Product Think Thinking
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
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
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

Artist Between Cartoon Country Definitely May People Person Relationship Understood
Use the worst colour you can find in each place – it usually is the best.
ROY LICHTENSTEIN

Best Colour Each Place Use Worst
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.
ROY LICHTENSTEIN

Another Artist Depend Itself Long Mark Relate Unity Vision
You know, as you compose music, you’re just off in your own world.
ROY LICHTENSTEIN

Compose Ideas Just Music Own Reality Thinking World
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.
ROY LICHTENSTEIN

Interest People See Thing Thinking Vision Work
Color is crucial in painting, but it is very hard to talk about.
ROY LICHTENSTEIN

Color Consistency Hard Painting Trying Very
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

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