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There must be something about art… almost all cultures have done art. It’s a refining of the senses, which are there to keep us alive. As far as we know, no other animals do that.

Roy Lichtenstein

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Alive Animal Art Culture Keep Look Refining Sense Something

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

I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter.
ROY LICHTENSTEIN

Basket Gas Interest Interesting Picnic Pump Sign Strip Suppose Tree
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
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
What interests me is to paint the kind of antisensitivity that impregnates modern civilization.
ROY LICHTENSTEIN

Antisensitivity Art Civilization Impregnate Interest Modern Paint 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
Use the worst colour you can find in each place – it usually is the best.
ROY LICHTENSTEIN

Best Colour Each Place Use Worst
I don’t think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.
ROY LICHTENSTEIN

Architect Architecture Art Form Kind Result Think Thinking
But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.
ROY LICHTENSTEIN

Certain Dot Draw Drawing Paint Paper Sure Thing Want
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 sanitizes it (emotion) but it is also symbolic of commercial art sanitizing human feelings. I think it can be read that way….
ROY LICHTENSTEIN

Art Character Commercial Emotion Feeling Human Mistake Sanitize Sanitizing Symbolic Work
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

Advocating Certain Commercial Forceful International Teenagerism Really Stupidity Terrorism Thing Usable Vital
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 LICHTENSTEIN

Anything Character Contrast Important Line People Position
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

Country Living Mcdonalds People Peron School Thing World
I’m never drawing the object itself; I’m only drawing a depiction of the object – a kind of crystallized symbol of it.
ROY LICHTENSTEIN

Crystalized Depiction Drawing Itself Kind Object Symbol
You have no idea where reality is, so to have an idea of what people think is pretty hard.
ROY LICHTENSTEIN

Hard Idea People Pretty Reality Think
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

Become Country Industrial Mena Same Soon Think Universal Way Work

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