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 LICHTENSTEINPersonally, 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.
More Roy Lichtenstein Quotes
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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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Pop Art looks out into the world. It doesnt look like a painting of something, it looks like the thing itself.
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What interests me is to paint the kind of antisensitivity that impregnates modern civilization.
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Color is crucial in painting, but it is very hard to talk about.
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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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I think that most people think painters are kind of ridiculous, you know?
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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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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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Use the worst colour you can find in each place – it usually is the best.
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Usually I begin things through a drawing, so a lot of things are worked out in the drawing. But even then, I still allow for and want to make changes.
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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.
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Pop Art is industrial painting.
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You have no idea where reality is, so to have an idea of what people think is pretty hard.
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In America the biggest is the best.
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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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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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I think art since Cezanne has become extremely romantic and unrealistic, feeding on art. It is Utopian. It has less and less to do with the world. It looks inward – neo-Zen and all that. Pop Art looks out into the world. It doesn’t look like a painting of something, it looks like the thing itself.
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But usually I begin things through a drawing, so a lot of things are worked out in the drawing. But even then, I still allow for and want to make changes.
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I dont have big anxieties. I wish I did. Id be much more interesting.
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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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You know, as you compose music, you’re just off in your own world.
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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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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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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.
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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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Im interested in what would normally be considered the worst aspects of commercial art.
ROY LICHTENSTEIN