black
grey
blue
red
brown
white

Personally, I feel that in my own work I wanted to look programmed or impersonal but I don’t really believe I am being impersonal when I do it. And I don’t think you could do this.

Roy Lichtenstein

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
Use the worst colour you can find in each place – it usually is the best.
ROY LICHTENSTEIN

Best Colour Each Place Use Worst
You know, as you compose music, you’re just off in your own world.
ROY LICHTENSTEIN

Compose Ideas Just Music Own Reality Thinking World
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
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
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
Im interested in what would normally be considered the worst aspects of commercial art.
ROY LICHTENSTEIN

Art Aspect Commercial Consider Interest Normally Thinking Way Worst
Color is crucial in painting, but it is very hard to talk about.
ROY LICHTENSTEIN

Color Consistency Hard Painting Trying Very
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
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 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
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
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
You forget that this has been thirty five years now and people don’t look at it as if it were some kind of oddity.
ROY LICHTENSTEIN

Being Five Forget Kind Look Now Oddity People Some Thirty Years
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
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

Personally, I feel that in my own work I wanted to look programmed or impersonal but I don’t really believe I am being impersonal when I do it. And I don’t think you could do this.

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Personally, I feel that in my own work I wanted to look programmed or impersonal but I don’t really believe I am being impersonal when I do it. And I don’t think you could do this.

Related Topics

Popular Authors

More Roy Lichtenstein Quotes