Pop Art is industrial painting.
ROY LICHTENSTEINI don’t really know what to make of it. There’s something terribly brittle about it. 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.
More Roy Lichtenstein Quotes
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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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You know, as you compose music, you’re just off in your own world.
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I’m never drawing the object itself; I’m only drawing a depiction of the object – a kind of crystallized symbol of it.
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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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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.
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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 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.
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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.
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People think one-point and two-point perspective is how the world actually looks, but of course, it isn’t. It’s a convention.
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Organized perception is what art is all about.
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Outside is the world; it’s there. Pop Art looks out into the 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.
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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.
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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.
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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.
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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.
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Use the worst colour you can find in each place – it usually is the best.
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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.
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In America the biggest is the best.
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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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I like to pretend that my art has nothing to do with me.
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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.
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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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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.
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The things that I have apparently parodied I actually admire.
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Color is crucial in painting, but it is very hard to talk about.
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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