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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.

Roy Lichtenstein

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Another Artist Depend Itself Long Mark Relate Unity Vision

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Marilyn Monroe Paulo Coelho Abraham Lincoln C. S. Lewis Khalil Gibran Charlie Chaplin Gautama Buddha Isaac Newton

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.
ROY LICHTENSTEIN

Artist Big Break Know Long Mind Thinking Tradition
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
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
My use of evenly repeated dots and diagonal lines and uninflected color areas suggest that my work is right where it is, right on the canvas, definitely not a window into the world.
ROY LICHTENSTEIN

Area Canvas Color Diagonal Evently Repeated Suggest Tight Uninflect Use World
Im not really sure what social message my art carries, if any.
ROY LICHTENSTEIN

Art Carries Message Our Really Social Sure Trying World
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
When I met Steve Kaufman, I thought he was Gene Simmons, but what an artist talent he is. He will be an art force in the art world to deal with.
ROY LICHTENSTEIN

Art Country Deal Force Met People Person Talent Work World
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
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
You know, as you compose music, you’re just off in your own world.
ROY LICHTENSTEIN

Compose Ideas Just Music Own Reality Thinking World
Outside is the world; it’s there. Pop Art looks out into the world.
ROY LICHTENSTEIN

Art Look Out Outside Pop World
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
Organized perception is what art is all about.
ROY LICHTENSTEIN

Art Organized Perception
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

Anything Better Carry Interested Matter Really Society Subject Teach Want Way
What interests me is to paint the kind of antisensitivity that impregnates modern civilization.
ROY LICHTENSTEIN

Antisensitivity Art Civilization Impregnate Interest Modern Paint Thinking

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